Reporting

Share My Dabba: The Big Impact Of A [Small And Sticky] Message

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My Ministers of Design Blog Post

Mumbai is a city of gross disparities, a monolith of have and have nots, where the chasm between the rich and the poor is more like an uncrossable abyss than a gap, with over 8 million of its dwellers living in slums. The growing income disparity is a sweeping trend that has, sadly, become all too prevalent in an increasingly globalized world, driving a wedge between the rich and the poor, who are having a hard time accessing even the most basic of social services. As the Share My Dabba video shows, every day 1.6 million people in Mumbai have food in their dabba, while 200,000 children go starving. The Happy Life Welfare Society, an Indian NGO, decided to do something about this, having worked on previous campaigns like Spread Some Warmth and Share Your Wealth.
Advertising agency McCann came on board to help the NGO figure out the strategy and came up with the “share” sticker. Whoever wanted to share his/her lunch put a sticker on the dabba. Next, however, came the more difficult step–how to collect the food and distribute it to the children without disrupting the to-the-minute-precision of the daballawah system, a Forbes Six Sigma certified system for its accuracy and a Harvard Business School case study. Every day, 5000 Dabbawalas deliver 200,000 boxes per day using only bicycles, relying on a complex series of collection zones, sorting points, and delivery zones, supported only by a manual coding system.
So as not to disturb the intricate time balance of the system, volunteers gathered at the point where dabbawallahs assemble after having collected the tiffin boxes after lunch; there, they initially used to empty the food from the containers into plastic bags and plates and give it to the children. But a much better system was devised–The Happy Life Welfare Society went to the slums and told kids and their families about the distribution point so, now, they just come there with their own utensils and are served food directly from the dabbas. All of this has to work with clockwork precision as there can be no delay in the dabawallah system–so the whole process is completed in 15 minutes.
The lesson that The Happy Life Welfare Society also learned is the importance of actually talking to people to get one’s message across, i.e. literally the legwork. To accomplish the involved planning needed for the success of this operation, volunteers had to talk to shopkeepers, workers, and office goers to make them want to share the dabba and involve them in the process, as well as the children living in the slums and their families. It would be impossible to introduce the system into a new part of the city without that educational campaign, states Kanupriya Singh, the Vice President of The Happy Life Welfare Society. There was a PR challenge from another avenue as well–addressing the critics who took umbrage to children eating messy leftovers, so the people sharing their dabbas had to also be encouraged and educated on only sharing clean food.
Share My Dabba is an excellent example of the wonderful confluence that happens when the message aligns with the successful execution of the thought behind it. A minimalistic approach lends itself well to snappy branding and messaging, but the importance of some good ol’-fashioned talking to people is also clearly underscored in this example.

Reporting

Hipper Than Thou–The Ever-So-Elusive Search For “The Authentic” In A Cleverly-Consuming World

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My first post for The Ministers Of Design Blog:
The search for “the authentic” has become one of the most dominant spiritual, moral, and consumerist quests of our time, states Andrew Potter, the author of The Authenticity Hoax and The Rebel Sell. Too bad that it is about as elusive as the Abominable Snowman—the author argues that there is no such thing as authenticity. Before you go hi-fiving your college cultural studies professor for teaching you that in the first place and leafing through your Cultural Studies Reader, let’s hash out the argument.
The obsession with “keeping it real” and “keeping it underground” has been a veritable mother lode of satire-worthy material, creating a whole new genre, the consumption critique, and launching Portlandia and Stuff White People Like into the popularity stratosphere.
But isn’t Look At This Hipster hilarious precisely because it is the ultimate [and very meta] hipster thing to laugh at other “poser hipsters”? With all this meaning upon meaning, and layers of meta upon meta, how is one to parse out what is happening?
Let’s start with the concept of selling out. How does one express one’s individuality without “selling out” to the man or the machine or some permutation thereof? Potter defines this “eternal trope of American life” as the idea that “once you had principles that were dear to you and you have given them up in exchange for comfort, material wealth, a job, etc.” It seems that the ultimate litmus test of a band “selling out,” for example, is when their music is used to shill some product for a corporation. So if consumerism is anathema, then why has the response to the “corporate” smacked of consumerism with no less intensity? Are these values we are giving up genuine values or were they a front for status seeking in the first place? This is the question posited by The Authenticity Hoax.
Take the organic/local food movement–clever consumption has become the new keeping up with the Joneses, argues Potter. As he explains, the in thing du jour has shifted from eating organic, to eating local, and then even further, eating artisanal, ramping up the exclusivity factor.
Ultimately, this quest for the real, the authentic has become no less corporatized than anything “commercial.” Begs the question–is there nothing real under the sun anymore?
One of the most seminal counter-cultural parables Fight Club and others of its ilk (Matrix, even) posit this idea that society is a land of falseness and illusion and that all one needs to do is wake up to this fact to escape its evil spell.
But how does one go about escaping this? Our culture is undeniably a countercultural culture and corporations have become incredibly good at selling rebellion to us. Potter argues that a common and very prevalent misconception is that capitalism requires conformity. As he explains, “capitalism relies on the concept of the constant churning of desires among consumers. It simply does not require conformity at all—quite the opposite.”
Consumerism (and more specifically clever consumerism) has become the hallmark and the vehicle for social status expression. In the decades of yore, one would argue there were more opportunities for standing out and finding one’s place in the social hierarchy. With the dwindling opportunities, social status is currently negotiated by consuming and displaying what you have found to be “authentic.” This “clever consumption” is the yard stick at present—why? Because consuming something different, something obscure grants one an especially coveted social status cache.
So now that the proverbial curtain has been pulled from your eyes, what is your take on this? Is it a case of “I faked it so real, I am beyond fake?” Do you agree that clever consumption is the new social ladder climbing? Comment and let us know your thoughts.

Reviews

Disconnect Movie Review

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My review of the film Disconnect

In some ways, Disconnect, the new film by Murderball director Henry Alex Rubin,
is American Beauty for our wired world, an arresting look at the complicated entanglements that technology can create. Merely calling it a cautionary tale about the dangers of the big bad Internet would be reductionistic, however–sure, none of the calamities that befall people in the movie are terribly novel and, in fact, seem directly plucked out of headlines, but it’s the acting that lends a very human touch to what could have otherwise run as a public service announcement. The film’s title could be interpreted as a reference to the disconnect and alienation the characters feel from each other and for the need for all of them to simply click the log-off button and disconnect from the webs they are so inexorably captured in.

Cindy (Paula Patton) and Derek (Alexander Skarsgard) are a married couple still mourning the loss of their baby. Their relationship strained by Derek’s stoic way of dealing with it (think the very male “I don’t want to talk about it” scenario), Cindy turns to an online support group for help, developing a cyber friendship with a man. When all of their assets are stolen by an identity thief and they seek to find the culprit, they are forced to face their own estrangement. This is one place where the movie mildly sputters, especially on the technological tip. For example, the private investigator tells them that this person “knows everything about you,” as though the fact that the thief has their vacation pictures is of the most relevance here when he has emptied out their bank accounts. Also, the explanation for how one can get a credit card number on the Internet and how a “Trojan” works was ham-handed at best and seemingly aimed at an audience that apparently has yet to learn what the definition of phishing is. The typing out of chat conversations on screen is also a bit clunky.

Jason Bateman turns in a compelling performance as a high-powered/Blackberry-indentured lawyer, oblivious to what is going on in his son’s life. When his son is the victim of cyber bullying, he plunges into a world of self-condemnation and guilt and turns to Facebook, ironically the very source of the tragedy, to “get to know” his son. Frank Grillo plays the overwrought father of Jason, the cyber bully. The film does a good job of showing how bully behavior is often a learned behavior and one that has roots at home. It also excellently portrays the vicious mean boys/mean girls school environment today’s youth have to contend with.

Nina (Andrea Riseborough) is a career-minded, unscrupulous TV reporter who convinces Kyle (Max Thieriot), an 18-year-old webcam model, to participate in her piece on the underage sex webcam industry. Initially, she appears to mean well, but quickly finds herself way in over her head and her motives become increasingly loathsome and self-serving. She uses Kyle to further her career yet does nothing to really extricate him from the life he is trapped in, especially when her actions literally endanger his life.

Disconnect thrums with suspense and maintains an undercurrent of threat to the very end. The acting is engrossing even though the character development leaves a bit to be desired. Ultimately, it does a good job of portraying just how elusive “reality” is starting to become in the superficial world of Facebook and social networking. Are the characters revealing their true selves and unspoken truths when shielded behind a screen or are they acting out an alternate identity in the digital playground? And while they somehow manage to weave their way back towards at each other, the costs are undoubtedly high. Disconnect manages to avoid the pitfall of being overly didactic and preachy, even if the subject matter could have been something plucked out of cyber security awareness month brochure.

Reviews

Baltimore Tattoo Convention 2013 Report

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My Report On the 2013 Baltimore Tattoo Convention

 This year’s Baltimore Tattoo Convention was slightly less raucous and frenetic than last year’s, but what it lacked in hype and clamor, it certainly compensated with the sights and sounds of hundreds of buzzing needles—almost all of the artists were assiduously tattooing, which is quite unusual considering how large the convention is. In other words, the “we are so busy” mantra I kept hearing translated to the convention as well. Tattoos are in(k) and they are here to stay, boldly splashing across the public’s imagination and remaining intensely personal yet defiantly public in their statements. Tattoos have firmly solidified their place in what is considered “art” and the artists who create them have fully reveled in the opportunity to showcase their work on mobile canvasses.
Tattoo conventions are truly communal and inclusive. They present opportunities for people to show support for their favorite artists by getting tattooed there or entering competitions. For others, it’s a chance to meet and see the work of artists they would otherwise not be able to. Then, of course there is the entertainment—sideshows, like The Enigma and Serana Rose, and suspensions (not for the faint of heart).
This year’s convention featured a lot of the local shops who were also at the DC Tattoo Expo, as well as some “celebratooists” like Ink Master winner, Shane O’Neill, and Ink Master finalist, James Vaughn, as well as the crew from VH1’s reality show Black Ink, who were funnily enough attracting Justin Bieber-like-hysteria levels of photo-op-seekers. Piercing guru Steve Truitt was also in attendance.
Marlowe Ink’s Steph Damiano and I shared a laugh over her being erroneously featured on the site as Stephanie Damiand, which she promptly called a “stripper name.” Anything referencing gemstones or diamonds definitely fits that category. James Marlowe, a really respected and sought-out artist, has been tattooing for 25 years and the shop attracts people looking for his custom work. Steph has “only” been tattooing for 5 years, but her folky, vintage-leaning style is really singular, fresh, and indelibly her own. “I have been getting a lot of requests for women’s faces with animals engulfing the top of their heads. Even though 5 years is not a terribly long time, I am going to stick with this. There is no other job where you feel like you are constantly learning and growing.”
Citizen Ink’s Joe Khay, who is originally from Georgia and has been tattooing for the last 10 years, also specializes in neo-traditional, Americana-influenced tattoos. “The tattoo industry has really changed from the 80s and 90s. The clientele has wizened up and we get a lot of people approaching us with this very European type mentality to the work—they have an idea of what they want, but also trust the artist to draw the piece. They give us more liberty and have done their homework more—it’s a matter of trust. Of course, we still get the kids that want to have ‘faith’ tattooed on their arm, but they are no longer the norm.”
Springfield’s Way Of Ink received several honors during the tattoo competition—1st place for large black & gray and 3rd place for small color. Duong has been tattooing for 15 years and specializes in Asian-themed pieces. The Way Of Ink table is also a testament to the bond that people develop with their artist—there is always a large crew, an extended family, really, who are all too happy to keep entering competitions and promoting the work of their favorite artist.
Virginia-based Rick’s Tattoos is the oldest shop in the area, having been around for 33 years.Rhiannon August, apprenticed with Rick, who has been tattooing for 43 years.  In response to what she has been tattooing a lot of this year, she responded “lots of pin ups and some abstract flower pieces.”
British Ink’s Aaron Trimiar was working for close to 4 hours on a beautiful back piece of a ship on a client who had literally just met him. “I have been doing a lot of Afro-centric pin ups this year, a lot of black and gray work. I feel like I am right where I need to be with tattooing. It allows me to constantly learn and grow as an artist. I am a tattoo artist, but I am also an artist, period. I am always working on sketchbooks and developing my art this way. It’s really the best occupation anybody could have.”
And that is a sentiment that seemed to be shared by many of his comrades in needles.

Reviews

BYT Spring/Summer 2013 Movie Guide

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BYT Spring/Summer 2013 Movie Guide

The East (May 31) – Brit Marling’s latest movie, The East, sounds like an incendiary amalgamation of The Edukators and If A Tree Falls, with a dash of Fight Club-esque nihilism for good measure. In Sound of My Voice, she played a cult leader and the protagonists were the infiltrators; here, she is the infiltrator, attempting to gain access into an “eco-terrorist” group that launches attacks against major corporations (I use quotation marks as I am not quite sure the rather-easily-slapped-on terrorist label should be bandied about quite so freely in cases involving environmental issues). The East finds Brit teaming up with long-time collaborator and fellow Georgetown alum Zal Batmanglij to once again explore the more subversive side of life (they also co-wrote and produced Sound Of My Voice). Alexander Skarsgård plays the group’s firebrand (ha!) leader and Ellen Page one of its members. The East promises to be a thrilling take on some very cogent, all too terrifyingly real issues and if Brit’s past work is any indication, expect this to be thoroughly and I do mean thoroughly engrossing. The trailer alone will give you chills.

Passion (September 7) – Brian De Palma knows a thing or two about the lurid, with a resume featuring Scarface, Carlito’s Way, and Carrie. Rachel McAdams (yes, the ebullient girl next door Rachel McAdams) and Noomi Rapace (yes, the girl with the dragon tattoo) star in De Palma’s remake of the 2010 French thriller Love Crime, which follows two women playing games with each other in a business setting. Think The Devil Wears Prada with a lot more violence and sex, maybe? While things start out with a little good ol’ taking credit for someone else’s idea – Rachel McAdams’ character takes credit for her underling’s work – they quickly escalate. I mean, didn’t Desperate Housewives teach you the jump from casserole bickering to murder isn’t all that great!? McAdams and Rapace could be the new Natalie Portman and Mila Kunis from Black Swan: things are looking pretty steamy, lack of leotards and anorexia notwithstanding.