The town of Winter Park in Central Florida is truly a gem. One of its many highlights is a chain of lakes that are connected to each other with narrow canals – hence the honorary title – Venice of Florida. The canals were built by lumber companies in the late 1800s for the purpose of connecting the lakes so that logs cut from surrounding forests could float all the way to sawmills.
These days, one can float down the canal and feel miles away from the city. The canal is surrounded by tropical trees and offers glimpses of beautiful historic homes of Winter park. As one floats down the canal, there is a canopy of lush trees of all kinds that provide shade. There are ancient oaks and cypress tress laden heavy with Spanish moss.
Artist Don Sondag grew up in Winter Park and loves these canals which he paints frequently.
Patrick Martinez was born and raised in Los Angeles, with a multicultural heritage – he is Filipino, Mexican, and Native American. This gives him a unique persepective and outlook – something that he has translated into his artwork – all of which show that his figers are firmly placed on the pulse of his city and the nation.
He captures the essence of the city and its forgotten nooks and crannies – neon signs from convenience stores, bakeries, and barber shops that tell desparate stories, funeral wreaths for sale on street corners, a shocking pink bogainviilea peeking out from over a fence – all these show up in his mixed media work – and convey messages about forgotten streets and overlooked people.
Martinez has taken very ordinary neon light signs seen in local shops and bars and turned them into meaningful works of art. In one, the neon sign reads, references German (anti-Nazi) pastor Martin Niemoller’s (1892 – 1984) well known quote: First they came for the socialists, and I did not speak out Because I was not a Socialist. Then they came for the Trade Unionists, and I did not speak out Because I was not a Trade Unionist. Then they came for the Jews, and I did not speak out Because I was not a Jew. Then they came for me and there was no one left to speak for me.
In 1985, 1.9 billion people across the globe watched Live Aid being broadcast simultaneously from two continents across the Atlantic Ocean. Think about that for one second – it happened before there was the internet, before there was email, and before cell phones.
This “live streaming” was done by satellites to television screens. It may not be too much of a stretch that with Live Aid Bob Geldof started a revolution in the global telecommunication structure. In a matter of weeks Live Aid and Bob Geldof pulled together international television downlinks in multiple countries; navigated broadcast rules, treaties and legal agreements; and turned the three big broadcasets ABC, CBS, and NBC temporarily from competitors into collaborators.
“Live Aid was a turning point in the global competitive and regulatory telecommunications infrastructure we see today. It brought new forces into the relationships between broadcast property owners and the rapidly evolving technological playing field. Geldof made that happen. Thanks to Geldof and the musical champions of Mandela’s cause, a fractured broadcast industry was brought together and able to beam messages of hope and freedom.” Carrington Davis, Wharton Magazine, December 12, 2013
On October 23, 1984 Bob Geldof saw a BBC report about a famine in Africa. Little did he know that the report would not only change his life forever but that his response would leave an astounding legacy that would impact an untold number of lives in Africa, forever changed the face of philanthropy, and be the spring board to bring television and global telecommunication technology into the 21st Century.
In 1985, Live Aid embodied the purest of motives: a desire to help and a belief that each one of us can make a difference. There was both a touching innocence and an electrifying energy about that hot summer July day. Live Aid was the first to harness the powers of mass media and peer-to-peer persuasion to bring the world together around a targeted cause – and in the process it started the trend of high-profile, celebrity-endorsed charitable efforts, and changed the face of philanthropy forever. It also started the Millennial trend on devoting time to a cause instead of simply donating to charity.
In her July 13, 2015 article in The Atlantic Kristie York Wooten sums up the impact brilliantly with, “If Live Aid had never happened, would Richard Branson have swum with Desmond Tutu while discussing world peace? Would Ted Turner have funded mosquito net initiatives, or Bill and Melinda Gates committed their wealth to provide vaccinations and contraceptives, or Jimmy Carter spent his post-presidency trying to eradicate tropical diseases in countries like Nigeria? Would George W. Bush have enacted PEPFAR (the President’s Emergency Plan for AIDS Relief), a massive government initiative to fight AIDS/HIV around the world? Would David Cameron have devoted unprecedented amounts of money to the UK’s foreign assistance budget? It’s also easy to question whether the African schools, water wells and AIDS-awareness campaigns of Oprah, Brad Pitt, Matt Damon, Will.i.am, Annie Lennox, and Alicia Keys would exist today if Live Aid hadn’t set the precedent for celebrity focus on the continent.”
“What really happened at the concert is that a new generation was born, a generation meant to be aware of what’s going on around us.” Elizabeth McLaughlin was 23 when she attended the London show
“The point of the record had been to raise money but, more important, to raise issues and make a gesture. After my trip to Africa, that issue had to be writ larger.” Bob Geldof, Is That It.
Bob Geldof came back from Africa determined to do more. He realized that while it was an incredible start, Band Aid’s £8 million was nothing in comparison to the scale of devastation he had witnessed in Africa.
“The idea is we start at noon here, go on until 5 p.m. Then we join with America on a live two-way satellite relay. We have five hours of relay, back and forth every other act, and then at 10 p.m. we hand over to America and they run for five hours. At the same time we broadcast constant appeal and give people phone numbers pledging donations with credit cards.”Bob Geldof pitching his idea to Harvey Goldsmith, Britain’s leading pop promoter at that time, Is that It.
The result, a mere 5 months later, was Live Aid –the world’s first trans-Atlantic 17 hour long charity concert performed live in Philadelphia and London on July 13, 1985.
More than 75 of Rock and Roll’s biggest names including Elton John, Madonna, Santana, Run DMC, Sade, Sting, Bryan Adams, the Beach Boys, Mick Jagger, David Bowie, Queen, Duran Duran, U2, the Who, Tom Petty, Neil Young, and Eric Clapton performed – some at the Wembley Stadium in London, where a crowd of 70,000 turned out, others at Philadelphia’s JFK Stadium, where a crowd of 100,000 watched.
Thirteen satellites beamed a live television broadcast of the event to more than one billion viewers in 110 countries. More than 40 of these nations held telethons for African famine relief during the broadcast, with live pleas from world leaders like Bishop Desmond Tutu, Coretta Scott King, Jihan Sadat and Rajiv Gandhi.
Phil Collins’ performed in Wembley, took the Concorde to Philadelphia where he performed later the same day.
“By midmorning the American Telephone and Telegraph Company reported that a toll-free telephone line set up to receive pledges was overloaded. The lines remained jammed for much of the day. The 1,126 circuits, staffed by 900 volunteers got more traffic than they could handle.” Jim Byrnes, A.T.&T spokesperson.
“Ask anyone over the age of about 40 about that sultry summer’s day and they will doubtless remember the Wembley concert’s defining moments: Queen, David Bowie and U2, Bob Geldof’s impassioned plea for people to donate more money, and the presence of our own fairytale princess, Diana. ”Sheena Grant, East Anglican Times July, 12, 2015.
Organized in just 10 weeks the Live Aid concert resulted in the greatest outpouring of collective compassion for a faraway people the world had seen. The concert raised over $127 million and saved thousands of lives – 100% of the contributed funds went to famine relief.
Impact on Africa – There is no denying that Live Aid did a phenomenal job in raising awareness of the conditions in Ethiopia, and raised funds that helped meet a desperate need at the time. The fund raising was so successful that at one point the phone center in the US crashed when 700,000 calls came in at the same time. Additionally, the phenomenal success of Live Aid encouraged many Western nations to send surplus food supply to Ethiopia. In the US, Live Aid’s legacy moved Congress to pass PL 99-66 which declared July 13, 1985, Live Aid Day. In the UK, Margaret Thatcher agreed to put famine relief on the G7 agenda.
I returned to England, my mind reeling with visions of intolerable destruction, political ineptitude and mass death. As I landed I felt I understood the impulse which sometimes prompted people to kiss the ground. It was good to be home, but I now knew that we had not yet done enough. Bob Geldof
Band Aid was a huge success, £5 million were generated from sales just on Christmas Eve 1984. The money was turned over to representatives from several accounting firms for distribution. Little did Bob Geldof realize that trouble had just begun – the purchase of grain and food and its transportation was bogged down in a maze of red tape.
And so after the staggering success of Band Aid, Bob Geldof had to address the issue of distributing the funds. He was not keen to involve any charitable organizations as they would keep a portion of the money to cover their overheads. He had given his word that every penny donated would go to Africa for the famine victims. After some amount of hesitation – because he had no money of his own and he did not want the trip to be perceived as a self-promotion tour – he decided to go to sub-Saharan Africa to appraise the situation himself. His ticket was paid for by the Daily Star newspaper that wanted to get exclusive rights to his story but relented when he refused to give them exclusive rights.
He made trip after trip to Africa, never using any part of the funds for his expenses. The conditions in Africa were heart breaking. On one such trip he walked so much to reach the villages that his shoes fell apart and he completed the trip in carpet slippers. In Africa he met numerous heads of states and dignitaries, but to this day the highlight of his life was meeting Mother Teresa in Africa.
With his trips to Africa, Bob realized that the money generated by Band Aid would not be nearly enough, he knew he had to do so much more. The answer came to him in the spring of 1985.
We watched the 6 o’clock news.., the scenes were absolutely riveting and this from the get go did not look like television, it looked like Spartacus, something vast and it was gray, these grey waves moving in this grey moonscape. And the camera was pitiless, it was like a cyclops, just there it would not let you off the hook. Bob Geldof.
Bob Geldof was among the millions that saw the BBC documentary on the evening of October 23, 1984. He could not get the images out of his mind. He knew he had to do something. He woke the next morning, and had an idea of doing a song with other singers. He wanted to record and release the song for the Christmas season. He called Midge Ure, a popular artist at that time, who agreed to work with him on the song. Within a week he wrote the lyrics to the song “Do they know its’ Christmas time?” and he and Midge Ure put the music together.
With his feverish, almost manic, desire to do something and the looming Christmas deadline, Bob Geldof recruited the top British and Irish singers of the time, and created a mega-group from 45 of the biggest superstars of British music including George Michael, Sting, Phil Collins, Boy George, U2, Duran Duran, Culture Club to sing the song. The superstars united under the name “Band-Aid’’ in a bold act of charity that was unprecedented at the time
The song provided immediate relief for Famine Victims. Bob Geldof had hoped to raise £72,000 – instead he raised £8 million ($11 million) to benefit famine victims of Ethiopia. He started an organization called “Bad-Aid Trust” which was used to collect and disburse the funds. Instead of using charitable organizations, he decided to use the Trust to disburse the money as he had pledged that every penny would help famine victims. This took him to Africa where he realized he had just dipped his toe in the pool – he knew this would not be enough.
The song became the conscience of the rock and roll world. In the height of the 1980s, Band Aid reconnected rock stars with their consciences – forever linking celebrity to charity. Bob Geldof had harnessed the power of celebrity singers and the consumer – and brought them together for the first time.
The enormous success of Band Aid and “Do They Know It’s Christmas?” paved the way for using the powerful force of celebrities for charitable causes. It inspired USA for Africa’s “We Are the World” for famine relief which was released on March 3, 1985, and went on to sell 20 million copies and raised $75 million. Others records inspired by Band Aid for famine relief included Austria for Africa, Chanteurs Sans Frontieres, among others. Additionally records such as Steven Van Zandt’s “Sun City” in protest of South African apartheid; and a Dionne Warwick remake of the Burt Bacharach ballad, “That’s What Friends Are For,” for Aids research were inspired by the siccess of Band Aid.
The success changed Bob Geldof’s life, it made history. In the middle of Thatcherism, Band Aid came along and made people aware. It also made charities incredibly cool. Young people were getting more and more involved in charitable causes. Something had changed. Midge Ure.
This is the way I feel I pay for my citizenship – by using my fame whenever I can to transmit an idea.” Sting.
Bono, the lead singer of U2 and one the world’s biggest philanthropists credits his philanthropic roots to Band Aid.
George Michael gave the entire profits from his single “Last Christmas” to Band Aid.
Every year at around this time, the radio stations start to play Christmas music. This also gives me an excuse to listen to “Do They Know It’s Christmas Time?” one of my favorite songs – it’s one of my favorite songs, not just a favorite Christmas song. Last year as an 8th grader, for a National History Day project, I had written about the Irish singer Bob Geldof, and the work he did in the 1980s for famine relief in Africa. Writing about Geldof, discovering the 80s music, the involvement of the music industry in charity, the famine in Africa, the BBC reporting of the famine, Band Aid, Live Aid, and their legacy – I learnt more from this project than I ever expected to. As I was hearing the song, I decided to write about it some more as I really enjoyed that project.
The BBC Documentary: A Watershed Moment for News Reporting
The Ethiopian famine came to international attention when BBC correspondent Michael Buerk started reporting on the extent of this disaster. On October 23, 1984, during the evening news BBC aired his report. According to The Guardian, Michael Buerk’s broadcast of a “biblical famine,” was filmed in a remote part of northern Ethiopia. The images shot by Kenyan cameraman Mohammed Amin, together with Buerk’s powerful words, produced one of the most famous television reports of the late 20th century. Though there were news reports prior to this, the haunting images from the documentary triggered an avalanche of support from all who viewed it.
The New York Times said of this report, “The plight of starving Africans had been recounted previously in newspapers and on television but it was not until a film report by a British journalist appeared on NBC late last month that governments and individuals were galvanized to help” (NY Times, Nov 22, 1984).
The report shook the world from its stupor. Suzanne Frank of The Guardian wrote, “Long before satellite, social media and YouTube, the BBC news item from Ethiopia went viral – transmitted by 425 television stations worldwide. It was even broadcast on a major US news channel, without revoicing Buerk’s original English commentary – something that was almost unheard of. Bob Geldof viewed the news that day.”
“We watched the 6 o’clock news.., the scenes were absolutely riveting and this from the get go did not look like television, it looked like Spartacus, something vast and it was gray, these grey waves moving in this grey moonscape. And the camera was pitiless, it was like a cyclops, just there it would not let you off the hook” (Bob Geldof)
It was this incredible report by Michael Buerk, and its serendipitous watching on the BBC evening news by an Irish rock band Boomtown Rats group member that led to Band Aid and Live Aid. Its legacy is massive, not only for the aid it generated at that time but for the line it drew connecting rock music and charity that lasts to this day.
Only an immigrant, especially one that has left home in a rush can understand the value of baggage. The exhibition Baggage Claims at the Orlando Museum of Art explores the role of baggage in our lives – baggage is the only thing all our immigrant parents brought with them when they came to this country.
South African artist Dan Halter’s large world map made of cheap woven plastic bags – which serve as baggage to many poor people throughout the world -shows more people are displaced today than at any time in world history; all they have is the baggage they left their homes with. Refugees from Syria are travelling through continents with their baggage, and with the emotional baggage of leaving their homes under such sad circumstances.
Here a pile of suitcases wait patiently on the floor waiting to be picked up by the owners. Almost all pieces of art in this exhibition were on the floor – as though they had just been left there briefly by the traveler, while taking a break from carrying them.
Cuban artist Yoan Capote’s Nostalgia is a brick filled suitcase – perhaps reminding us of the dangerous voyages the people of Cuba have taken across the seas at the risk of drowning to the bottom of the sea with their heavy baggage. Indian artist Subodh Gupta showcases a common piece a luggage used by the weary traveler – a rolled up mattress that can be unrolled for sleeping on, when the traveler gets tired.
Portable City Chinese artist, Yin Xiuzhen, shows a suitcase which carries an entire beloved city. Pieces like this make one realize how difficult it is for immigrants and refugees to leave their hometowns, not knowing if they will ever see them again. The bright and cheerful color of the suitcase shows how much the artist loves her city.