And in unrelated news, I have to admit that it wasn’t until the Kanye/Swift rift took place that I even knew who Taylor Swift was. Again, I wondered if I was reading about a man? Or perhaps some sort of cartoon character like Jimmy Neutron? Then Kanye decided he’a let her finish, and now the entire world knows who TS is. Which is nice, because now I also know the difference between TS and Colbie Caillat, since- to my ears- they too sound the damn-same! Upon further investigation, I found that not only do these girls sound alike, they also look like other famous folks. Alas, poor Miley Cyrus will  only always look like Billy Ray minus mullet (for now), plus boobies.

PS- why does it look like Taylor Swift has already had some form of eye lift surgery? Isn’t she only like, 17?

-CM

Chevron Sued For Dumping Toxic Waste in Amazon

Celebrity support for the cause … actress Daryl Hannah in Ecuador’s oil region in the Amazon two years ago. Photo: AP

Sydney Morning Herald
November 17, 2009

”Texaco treated Ecuador’s Amazon like a garbage dump,” said Douglas Beltman, a former official at the US Environmental Protection Agency who is a scientific consultant to the indigenous groups.

Vigilantism is not encouraged by most of Western society. Which is odd considering how well movies about vigilantes (i.e. “The Dark Knight”) rake at the box office.

Speaking of Batman, the next story features a boat that looks like something the Caped Crusader might con:

Pictured: The bullet-proof ‘Batmobile’ set to wreak havoc on the Japanese whaling fleets

Who is “The Sea Shepherd Society”? Nothing more than a group of concerned citizens that has waged a jihad (“Now batting for Allah, Gaia!”) against Japanese whalers.

One of the vigilantes activists is none other than Daryl Hannah who I guess is just getting back to her roots (right)?

Whaling is part of Japanese culture. How integral? I don’t know, but who are we to tell them what they can or can’t do in international waters?

Incidents between the “Sea Shepherds” and Japanese whalers in the past have resulted in people getting hurt.

These Hollywood types are really something else. They seem to pontificate about how there is no right and wrong, yet there are plenty of things they seem to find “wrong”. So much so that they take extreme measures to battle whatever they deem as “wrong”, multiculturalism be damned.

Much closer to home, why aren’t they protesting the ritual slaughter of lambs by Muslims and Jews? You wouldn’t need a bulletproof Bat Boat to do it either, but for sure it’d upset the apple cart much more than protesting a distant nation’s customs.

To paraphrase a fictional Politburo member: “Where are the cultural relativists here!?!”

  I know the belief in such things as mermaids ended centuries ago, but I was surprised to read online last night that ‘sightings’ of the mythical creatures are still being reported. In August this year in Kiryat Yam, a town in Israel, a reward of US $1 million was put up for anyone who could prove the existence of a mermaid off its coast after dozens of people reported seeing one leaping from the sea. Traditionally Mermaids are said to be half woman half fish. It has since been said that sightings of sea manatees were actually what sailors and others saw when they thought they had seen a mermaid. I don’t know exactly how this can have been when sea manatees look about as far away from the traditional mermaid as it’s possible to get. I first became aware of mermaids when I saw the film ‘Splash’ in 1984 starring Tom Hanks, John Candy and Daryl Hannah, and the sight of her as a mermaid is not one you soon forget. The first mermaid stories began in Assyria around the year 1000 BC. In this country Sandwood Bay in Sutherland was an area once known as ‘The Land of Mermaids’ due to the high amount of sightings that were reported there. In the 19th Century well-known showman P.T. Barnum exhibited what has since become known as a famous hoax when he first exhibited the ‘Fiji Mermaid’. Leased from a friend of his for $12.50 a week, the creature, promoted as the mummified remains of a mermaid was actually the top half of a monkey stitched together with the bottom half of a fish. (See pic below right). Although such things are obvious myths and fairy stories, I do think that perhaps the world was a more interesting place when there were still mysteries about such things. Thanks for reading.

Instead of watching the New York teams fail miserably, I watched this fantastic romantic comedy courtesy of Mr. Steve Martin. If you haven’t seen it lately, you really should.

Sweet, funny, intelligent, it has a sunny small town California setting without meanness but with excellent physical comedy. It’s magical and hopeful and the conceit, based on Cyrano De Bergerac, makes you believe that they could fall in love so quickly. I was trying to make a list of romantic comedies that don’t leave that cruddy manipulated diet coke aftertaste and all I have is this, Groundhog Day, and It Happened One Night. What do you suggest?

Carved pumpkins in Portland, Maine

It’s hard to believe that Halloween has already come and past. As I write this the midnight hour has already passed and all Saint’s Day has officially begun. That’s all Halloween is anyway the last day of the Celtic New Year. November 1 is the first day of the new year and Halloween is just a contraction from the phrase All Hallow’s Eve, the night before All Saint’s Day when lost or departed souls return for a visit. That is why food is often left out so as to appease the spirits on the one day when they are allowed to roam around their old haunts.

sexy ghost costume

I can’t believe how big a holiday Halloween has become even approaching Mardi Gras status in such places as Salem, Massachusetts and Austin, Texas. Here in Maine Halloween parties seem to be as popular as ever but I decided to spend the evening at home watching  appropriate videos.

My choice of movies included the Assasination of Jesse James, Millers Crossing and the delightful High Spirits, a fun tale that takes place in a fictional castle in Ireland on Halloween.

poster for the Haunting

I was presently surprised by High Spirits and enjoyed the fine performances by Peter O’Toole and Daryl Hannah. Not the deepest movie of all times but a fun spoof on ghosts and castles. The special effects were excellent and helped make the movie an enjoyable ride.

Midnight signifies another milestone for me. It is the now officially the 1st of November and I can start my NaNoWriMo novel. I think I will put off this literary endeavor until tomorrow during the day when I have more energy. Besides I don’t want all the ghosts and goblins looking over my shoulder while I writr my great American novel.

Pin up for a Halloween Witch

Daryl Hannah

Seguimos con nuestra sección de videos donde hacen acto de presencia figuras del cine y de la moda. Esta vez es el turno de 4 actrices que destacan tanto por su trayectoria profesional como por su belleza.

Abrimos con el “enfant terrible” de la música, Robbie Williams, que en el 2002 con el primer sencillo de su disco Escapology fue número 1 en un montón de países vendiendo la friolera de más de 4 millones de copias.  Para el video escogió como acompañante a la guapa Daryl Hannah, (Blade Runner, Splash, Magnolias de acero, Two Much, Kill Bill), lo que acrecentó los rumores de un posible romance entre ambos. Como curiosidad sobre la actriz, decir que de niña perdió parte del dedo índice y que también se le diagnosticó un desorden cercano al autismo. Es evidente que este trastorno lo dejó atrás hace mucho tiempo. Una de las mejores canciones del inglés en mi opinión y un video que en su versión en blanco y negro (existe otra en color) realza la belleza misteriosa de Hannah observando al cowboy Williams.

Un año antes Robbie Williams había rodado otro video con otra actriz muy famosa y cómo no, también guapa (aunque se le ha ido la mano con tanta cirugía), la “oscarizada” Nicole Kidman. Swing When You’re Winning fue el título bajo el que Williams grabó canciones de los años 50 y 60. Con la australiana hizo el clásico de Frank y Nacy Sinatra, Something’s Stupid. Vestidos para la ocasión, hacen un dueto con mucho sabor y color a esos años de mediados del siglo XX.

Cambiamos totalmente de registro y nos vamos a la costa este de EEUU, concretamente a Florida.  Tom Petty (59 años el pasado 20 de octubre), rodó un misterioso video para la canción Mary Jane’s last dance, el single de su Grandes Exitos de 1993. Basado en la novela Grandes Esperanzas de Dikens, se puede ver en él a uno de los mitos eróticos de los 80, a la explosiva Kim Bassinger interpretando un papel con poco diálogo realmente. Se dice que la canción habla de la marihuana porque Mary Jane es uno de los nombres por los que se le conoce a la “maría”.

Para cerrar este tercer capítulo, hemos elegido a los incombustibles Rolling Stones y la canción Anybody Seen My Baby del disco de 1997 Bridges To Babylon. En el video aparece una stripper que entonces no era la estrella del celuloide (ni mediática) que conocemos ahora. La sex-symbol Angelina Jolie desplegó todos sus encantos y toda su sensualidad en una canción compuesta por la pareja Jagger-Richards en colaboración con los canadienses KD Lang y Ben Mink.

Il suo nome è Landa, Hans Landa. È un ufficiale delle SS nell’ultimo film di Tarantino, Bastardi senza gloria. Lo chiamano il cacciatore di ebrei. Un essere così tremendo che dovremmo odiarlo. Eppure no, l’Hans Landa di Christoph Waltz, l’attore austriaco premiato a Cannes per la migliore interpretazione maschile, fa un lavoro che è agli antipodi dell’ufficiale nazista di Ralph Fiennes visto in Schindler’s List. La cattiveria è la stessa, ci mancherebbe. Ma in Landa ci sono molte più sfumature. È un essere multiforme, come le lingue che parla nel film (tedesco, francese, inglese, italiano). Non a caso abbiamo aperto con delle parole che di solito associamo a James Bond: Hans Landa, infatti è cool, è freddo, controllato, ha delle maniere eleganti. Ama la cucina, lo strudel e il latte. È cattivo, cattivissimo. Ma a modo suo – si prenda con le pinze quest’espressione, visto che si tratta di un nazista – è cortese. È cortese con le donne, fino a quando non deve ammazzarle, certo. Hans Landa è cool come lo era il Wolf di Pulp Fiction. Una figura anch’essa ispirata a James Bond.

Questo aspetto ci porta a riflettere su tutti i cattivi di Tarantino. Che in fondo non ci hanno mai spaventato, ma quasi sempre fatto sorridere. In realtà, se ci pensiamo, nei primi film di Tarantino, non ci sono veri e propri cattivi, almeno per come siamo abituati a considerarli negli schemi classici del cinema. Nel contesto a-morale de Le iene e Pulp Fiction, non ci sono cattivi perché non ci sono buoni. Perché tutti i personaggi del film sono impegnati in azioni negative. Ne Le iene, tutti hanno preso parte a una rapina. C’è chi ha un po’ più di cuore, il Mr. Orange di Tim Roth, (ma è un poliziotto infiltrato) e chi è una vera bestia, il Mr. Blond (che si chiama Vic Vega, ed è il fratello del Vincent Vega di Pulp Fiction) di Michael Madsen, protagonista della scena cult, la sadica tortura a un poliziotto sulle note di Stuck In The Middle With You degli Stealer’s Wheel. Ma è proprio questa sequenza che ci ha messo subito in guardia: è tutta ironia, e la cattiveria è solo apparente. Anche i cattivi sono qui per divertirci.

Anche in Pulp Fiction lo scenario non cambia. E infatti Vincent Vega e Jules Winnfield sono vestiti come le iene del film precedente. Li vediamo entrare in scena mentre parlano di massaggi ai piedi e di patatine e maionese. Potranno mai farci paura? Certo, sono dei killer, e nel film uccidono pure. Ma l’interpretazione di John Travolta e Samuel L. Jackson è ironica, sopra le righe, molto meno realistica rispetto al tono de Le iene. E così i due ci sono subito simpatici. Chi spaventa, per la perfidia con cui si parla di lui, è il boss dei boss, il Marsellus Wallace di Ving Rhames. Ma, dopo aver visto come è uscito dalla cantina del sadico Zed, ci fa quasi tenerezza. Forse il personaggio meno cattivo è il Butch di Bruce Willis, ma si tratta sempre di qualcuno che ha truccato un incontro di boxe.

Stesso discorso per la Jackie Brown, che dà il titolo al film omonimo, interpretata da Pam Grier. È forse la prima “buona” del cinema di Tarantino, il primo personaggio con il quale lo spettatore prova una certa empatia. Ma è pur sempre una hostess che fa il corriere della droga. Accanto a lei ci sono dei cattivi: l’Ordell di Samuel L. Jackson, il Louis di Robert De Niro, e il poliziotto di Michael Keaton. Tutti troppo ridicoli, fessi, rintronati o stanchi per far paura. Così come Stuntman Mike, interpretato dalla “iena” per eccellenza, Kurt Russell, villain di Grindhouse, è una figura che ci ispira simpatia: osservate il suo sguardo in macchina e il suo sorriso, e ditemi se non è così.

Non sono cattivi, i “villain” di Tarantino. È che li disegnano così. E solo un gran disegnatore di personaggi come Tarantino può creare figure simili.

A dire il vero, forse, i veri cattivi stanno in Kill Bill, il suo film più crudo e, in fondo, meno giocoso. Bill e le sue vipere sono gli unici veri cattivi del cinema di Tarantino: un uomo capace di uccidere la sua ex compagna, per di più incinta, nel giorno del suo matrimonio, è la vera iena.

Uno che è capace di tentare ancora di ucciderla, dopo un ameno discorso sui supereroi, con la figlia a pochi metri di distanza.

David Carradine, nel ruolo di Bill, è il vero “bastardo senza gloria” del cinema di Tarantino. E le sue vipere non sono da meno O-Ren Ishii (Lucy Liu), Vernita Green (Vivica Fox), Elle Driver (Daryl Hannah) e Budd (di nuovo Michael Madsen), sono tutte persone efferate, che siamo contenti di veder morire.

Non come Vincent Vega, che si fa beffare come un fessacchiotto uscendo dal cesso. Ma come Goebbels, Hitler e tutti i nazisti. Sì, tra i cattivi di Tarantino c’è anche un Hitler caricaturale e pop, che il regista raffigura come un simbolo. Del male. Ma anche della stupidità.

(Pubblicato su Movie Sushi)

- por Bernardo Brum

Caso fosse anterior ao clássico Eles Vivem, Memórias de um Homem Invisível bem que poderia ser considerado uma espécia de rascunho da obra. Está tudo lá: o governo podre e corrupto, a sociedade decadente, os elementos de ficção científica surgidos repentinamente etc., tudo mergulhado num ambiente de muita cafonice, despretensão e, principalmente, dissimulada inocência que Carpenter também imprimiu nos filmes dos aliens infiltrados.

Apesar de não dar pra levar muito a sério a idéia de um executivo yuppie apaixonado por uma loira maravilhosa (Daryl Hannah! Daryl Hannah! Daryl Hannah!) que certo dia sofre um acidente com uma inovação científica qualquer e fica invisível por intermédio disso, logo passando a ser perseguido por federais inescrupulosos, Carpenter explora isso com riqueza de detalhes e com uma abordagem popularesca infalível. É sério: o esquema é tão Cinema em Casa que qualquer que assistir os primeiros cinco ou dez já faz assistir o resto com muita boa vontade.

Mas claro, como bom artesão que é, John Carpenter colocou por todos os lados suas pequenas obsessões. Assim, a história do homem invisível apaixonado pela loira revela que de inocente não tem nada. Fala muito dos principais temas que Carpenter sempre colocou em muitos dos seus grandes filmes, como Dark Star, Fuga de NY, Eles Vivem, O Enigma do Outro Mundo, por aí vai: a liberdade, a opressão do homem pela máquina, a conscientização etc. Quando o yuppie feito por Chevy Chase passa a ser perseguido por policiais gananciosos e inescrupulosos, cercado de gente amedrontada e incapaz (até os homens de ciência), e vê que se decidir jogar pelo lado do sistema não vai ser nada além de um peão no jogo de interesses da política, que essa obra cheia de cenas engraçadas e também sofisticadas visualmente (Daryl Hannah transando com o ar, os pulmões que só aparecem quando o Chevy dá um trago no cigarro, o jogo da edição entre a visão do expectador, do protagonista e de seus amigos/antagonistas) revela-se como um pequeno porém muito arquitetado comentário político – um homem vazio, cheio de máscaras, alguém que só era estatística, massa de manobra, emocionalmente apático e tudo o mais só consegue agir naturalmente, seguir seus próprios interesses, se apaixonar e tal justamente quando o seu corpo desaparece. É como o que acontece com John Nada em Eles Vivem: para ser humano dignamente, ele terá que se tornar uma aberração, um marginal, um pária etc.

Não é grande coisa, é até um filme menor da carreira cheio de grandes filmes de John Carpenter, mas o talento do cara continua afiadíssimo e sua direção tem muita força e ritmo que ganha mais nos pequenos detalhes do que na pretensão. Conseguir travestir ficção científica amarga de comédia despretensiosa de pequeno estúdio não é pra qualquer um, definitivamente. O espírito libertário e bagunceiro de Carpenter, autêntico cineasta dos anos setenta que continua incansável em suas temáticas há mais de trina anos, é o que move para a frente – e com muita força – esse filme. E também serve pra descobrir que só mesmo sendo invisível que alguém feio feito o Chevy Chase conseguiria algo com a Daryl Hannah…

3/5

Ficha Técnica: Memórias de Um Homem Invisível (Memoirs of an Invisible Man) – 1992, EUA. Dir: John Carpenter. Elenco: Chevy Chase, Daryl Hannah, Sam Neill, Michael McKean, Stephen Tobolowsky, Jim Norton, Pat Skipper, Paul Perri, Richard Epcar, Steven Barr

A Walk To Remember

Sempre tive preconceito com cantoras que fazem filmes e com atrizes que cantam. Há muitos anos atrás a Björk me provou que era possível fazer bem feito desde que um não se misturasse com o outro (estou falando de Dançando no Escuro) e há menos tempo a Marjorie Estiano também (mas fico muito grato de ela ter dado um tempo com a música…).

Eis que nesta manhã de sábado ao sapear um canal que fizesse barulho enquanto eu faço meus trabalhos encontrei um filme que parecia ser inofensivo, mas ao ver a sinopse, confesso que desanimei com o nome Mandy Moore. Putz! Essa menina era cantora pop durante a minha adolescência! Quando vi que o filme era de 2002 entendi porque eu nunca o havia assistido: faculdade! Se vocês jovens cinéfilos querem continuar cinéfilos sem precisar parar suas vidas sociais por 5 anos ou mais, não escolham nenhuma profissão da área da saúde… elas não permitem compartilhar seu tempo com nada mais. É quase como se casar com alguém muito ciumento e possessivo. (rsrs)

Mas calo minha boca, pois o filme é muito bom. Pelo menos da maneira que eu gosto: sutil, sensível e verdadeiro. Pelo título a gente já sabe que o final é de arrancar lágrimas dos mais durões.

Baseado na obra homônima de Nicholas Sparks,  o filme conta a história de Landon Carter (Shane West), o típico popular da escola, um jovem irresponsável e insensível que foi punido por uma brincadeira que fez a um garoto paraplégico. Ele então é obrigado a participar da montagem de uma peça teatral. É onde ele conhece Jamie Sullivan (Mandy Moore), a filha do pastor, tímida e recatada. Contra a vontade de todos, inclusive do pai de Jamie, eles se apaixonam até ele descobrir que ela tem leucemia. E esse amor mudará Landon para sempre.

Eu gosto de filmes que simplesmente contam uma história. Especialmente os que lidam bem com a morte e com “a vida continua”.

Ficha Técnica:
Um Amor para Recordar (A Walk to Remember)
Ano de lançamento: 2002
Direção: Adam Shankman
Atores:
Landon Carter – Shane West
Jamie Sullivan – Mandy Moore
Reverendo Sullivan – Peter Coyote
Cynthia Carer – Daryl Hannah

Guxtavu

Released a year before the final episode of the Star Wars trilogy, this is the best film Harrison Ford made in the early eighties (possibly ever), and has no need of cute little furry creatures to save the day or boost younger audience figures. In fact, this is not a film for the younger audience at all. Not because of the violence, which is minimal and, by modern standards, rather tame, but because it is not one of those ‘wham, whizz, zoom’ science fiction films usually pitched at teenagers. It’s a provocative and incredibly layered film, almost as complex as the Philip K. Dick novel which inspired it. (For my review of ‘Do Androids Dream of Electric Sheep?’ see The Planet Harris Book Blog.)

Ford is Rick Deckard, the Blade Runner landed with the job of ‘retiring’ (executing) a band of renegade androids, known as replicants, who have returned to Earth to seek their manufacturer and discover whether their inbuilt four year life span can be extended. The number of replicants is a matter of contention and the uncertainty about how many artificial humans are at large provides one of the eternal talking points about the film. Deckard’s boss initially says there are six replicants at large, one of which has been retired already. A few sentences later he mentions that four replicants remain to be taken down. Bad maths? Poor continuity? Or the first clue that Deckard himself is possibly a replicant? You decide.

Another replicant is thrown into the mix in the shape of Sean Young’s beautiful female character, Rachel, who, having been implanted with false memories by the Tyrell Corporation which makes the androids, is at first unaware she is not human. Deckard’s burgeoning relationship with her is either a new take on the ‘realistic’ sex doll, or further evidence of his own replicant status depending on your opinion of the narrative.

The most memorable scenes all contain Rutger Hauer, a newcomer to American audiences at the time. As the leader of the replicants, Roy Batty, he has to endure the retirement of his friends (which include a somewhat pneumatic Daryl Hannah) at Deckard’s hands. In their final showdown the camera flits back and forth between Deckard and Batty, emphasising the similarities between the two characters and allowing the audience to accept an empathetic replicant finally deciding to save the life of the blade runner, who is at the time hanging from the edge of a building.

The cinematography throughout is still striking and at the time must have been groundbreaking, certainly in terms of visual effects. Director Ridley Scott offers us a fully realised future world, one which is based on the foreboding streets of 40s and 50s film noirs, for all that it is set in the 21st century. Rain seeps into everything, decay is everywhere, darkness is barely diminished by slashes of light from slatted windows. The look and feel all imply that there is nowhere for the replicants to run. And yet there is still the ultimate question of whether Deckard is a replicant himself. Where is he running with Rachel at the conclusion of the film?

Earlier on Deckard dreams of a unicorn, a symbol of freedom, supposedly, and we are perhaps meant to interpret this as a deep rooted desire to get out of the blade running business and regain some control over his life. He is often ferried around by the bizarre figure of Gaff, one of the police chief’s main lackeys, it seems. Wherever they go Gaff leaves little origami figures behind. His final work of art is a unicorn made from silver gum paper. He clearly knows that Deckard and Rachel are trying to escape the city, even the country, despite the fact that Deckard has now been asked to retire Rachel too. Some wonder why he is letting them go: if he has been outside Deckard’s apartment and left the silver figure, he has decided not to prevent their escape. More pertinent, for me, is why he would leave a unicorn. Did Deckard ever tell him of his dream? Not on screen. Is Deckard a replicant with memories as false as Rachel’s implanted into him? Are his dreams merely the result of implanted data too? In the Director’s Cut, at least, these questions are left entirely open. Don’t bother with the original cinema release; apart from anything else, the studio insisted on a dreadful voice-over which takes all mystery from the ending. And if you like your dystopian science fiction to be a little more laconic, a little less po-faced, try Terry Gilliam’s Brazil.

QUENTIN TARANTINO

Safe to assume her arch enemy – Daryl Hannah’s sightless and left-for-dead California Mountain Snake – will be back for a little revenge??

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Wall Street (1987)
★★★ / ★★★★

Bud Fox (Charlie Sheen) believes in working hard and achieving little rewards which eventually add up to a big accomplishment. That is, until he one day decides that he wants to move up the economic ladder by teaming up with a corporate raider named Gordon Gekko (Michael Douglas). Gekko assigns Fox to obtain illegal information via spying, lying, and basically throwing out his ethics out the window in order to be successful. But Fox eventually realizes Gekko’s true colors when Gekko decided to mess with Fox’s father’s business (Martin Sheen), without taking into consideration what would happen to the workers ad everything they’ve worked hard for. I enjoyed watching this film in many levels. For one, it had a plethora of brilliant one-liners and references to literature. Second, the acting is spot-on; Douglas as the greedy corporate raider was a bad person, but he had a certain charm that made me believe at times that his methods were justified. That characteristic was brilliantly painted during his speech in front of the stockholders. I also liked the fact that the lesson was “greed is bad” (the antithesis of the picture’s tagline) but it did not feel too heavy-handed. While it did show the glamorous side of achieving quick and easy ways to make money, it showed just enough serious consequences that would inevitably happen to those who choose to steal instead of patiently creating something for themselves. Lastly, I have to admit that I didn’t think the financial world was interesting, but by the end of the film, I understood it a bit better and, oddly enough, found it to be interesting. I also found it to be exciting with everyone wanting to sell and buy, and others in fear that they may lose a whole lot of money in the process. I guess the issues such as the fragile nature of loyalty, not realizing that one is standing on thin ice, and worries about not amounting to anything made the picture that much more interesting to me. Not to mention that there were a lot of notable supporting actors here such as Hal Holbrook, Daryl Hannah and James Spader. I definitely had to admire the film’s intelligence, but most importantly, its earnestness to entertain in both subtle and overt ways.

Photo by Karimian (via Flickr)

 In Saturday, I headed over to the Festival of Earth Cultures that took place at Historic Pisgah Village in Highland Park. The event, which was organized by equitableroots, aimed to provide people of modest means with information about affordable, organic, and locally grown food.

Equitableroots is a program under Women Organizing Resources, Knowledge & Services (W.O.RK.S.) and is a partner of South Central Farmers (you may remember hearing about them in the news because of actress Daryl Hannah’s involvement with them).

Through community partnerships, equitableroots promotes health and well-being in communities that often do not have access to nutritious food options but have fast food restaurants at every other corner in their neighborhood.

The day long event, gave people an opportunity to learn about organic produce through activities such as gardening and food sampling. They also learned about farmers markets and community supported agriculture (CSA).