With the whole world watching, celebrities gave of their time and talents for the victims of the recent earthquake in Haiti. And judging by the more than $61 million dollars in relief funds they generated in slightly more than 24 hours, their sacrifice on the alter of altruism was a rousing success.
We all know they do not need the publicity; the paparazzi, tabloids and the TMZ Web site to generate that free gratis. Their sacrifice notwithstanding, if you viewed the benefit listening to that lyrically sublime music and celebrity testimonials, you could not help but be moved to do something, anything to help relieve the suffering of the people of Port-au-Prince.
“Hope for Haiti Now,” organized by rapper Wyclef Jean, did nothing to diminish the importance of these heavenly, albeit Earthly, crusades. The mood of the music this night had the feeling of a church offertory, something unusual in the flavor-of-the-month mode of American pop culture. Benefit concerts like this can trace their origins to the Monterey Pop Festival in 1967. Then in 1971, shortly after the break-up of the Fab Five, Beatle George Harrison organized and promoted “The Concert for Bangladesh,” focusing the world’s attention on the human suffering caused by a civil war. By 1985, compassion for the victims of a famine ravaged Ethiopia generated another fund raiser: Rocker-promoter Bob Geldof’s extravaganza “Live Aid” was viewed by more than 400 million rock fans via satellite hook-up. (“Live Aid” generated the multi-platinum Top-10 single of the Michael Jackson, Lionel Richie composition “We Are the World.”) Another benefit followed as Willie Nelson and Neil Young’s “Farm Aid” helped relieve the financial distress of countless farmers on the verge of bankruptcy. “Farm Aid” even to this very day is saving thousand of family farms from falling under the auctioneer’s gavel.
And the Haitian telethon is a continuation of that tradition. During “Hope for Haiti Now” we listened to Alicia Keys, calling on all of her gospel-rhythm and blues powers, praying for an “Angel” to comfort the Haitians in the song “Prelude to a Kiss.”
Next up, Bruce Springsteen lifted spirits by singing in a style worthy of his idols Pete Seeger and Woody Guthrie in the civil rights anthem “We Shall Overcome.” Then we listened to Stevie Wonder prayerfully call for self-sacrifice with his rendition of the classic Simon and Garfunkel composition “Like a Bridge over Troubled Water” accompanied by a soulful backup choir. Christina Aguilera’s “Lift Me Up” did nothing to diminish her reputation as the finest female vocalist in pop music today; Madonna, the Material Girl, reverently sang her Top-10 hit “Like a Prayer.” Both Aguilera and Madonna’s numbers captured the essence of the pathos of those heart-wrenching, poignant live video feeds we have all seen featuring the victims digging out of the rubble wrought by this natural catastrophe.
Sting’s “Driven to Tears,” a cut from the Police CD “Zenyatta Mondatta,” is one of the tightest sounds you will ever hear, a tribute to his unique fusion of jazz-rock music. Not to be outdone, Justin Timberlake’s duet with Matt Morris of the song “Hallelujah” showcases the musical versatility of this former member of the former boy boom-box member of NSYNC. His performance places him in the category of the finest pop musicians of this generation. (The Internet and pop culture rumor mill has it that most of these musicians are recording a second version of “We Are the World,” all the proceeds going to rebuild Haiti.)
Inspiring were the likes of Steven Spielberg, Julia Roberts, Cindy Crawford, Meg Ryan, Jack Nicholson and Charlize Theron manning the phones and soliciting callers for pledges. On this somber night we saw nothing superficial to adorn the stars; no Gucci, no Prada, no Versace, no make-up or red-carpet treatment so often afforded celebrities. Everyone seemed to be caught up in the pathos of the moment.
CNN reporter Anderson Cooper’s live feeds described in vivid detail the uncertain future of more than 350,000 Haitian orphans, their number growing greater by the day as the adult body count rises.
Cooper’s sound bite provided a fitting introduction to John Legend’s adagio-tempo “Motherless Child,” which will haunt you, its soul-felt message lingering long after the music fades away.
Maybe, just maybe for Haiti, all Americans and humanity as a whole will take to heart and act on the words of the great teacher-philosopher who once said “Inasmuch as ye have done it unto one of the least of these my brethren, ye have done it unto me.”
Jean Griffith lives in Carthage. He teaches American history at two area community colleges.
