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Corporate elites literally manufacture all-star celebrities, and acting through these malleable figureheads, freely flood the world with imperialist propaganda. However, the main difference between celebrities and politicians is that the public cannot exert democratic control over celebrities, Bob Geldof lead singer of the Irish band the Boomtown Rats is no different in this regard, and as the consummate celebrity-power broker, he stands clear of many contemporaries as a pioneer of celebrity-led imperialism: acting effectively in the service of capital. It is for this reason that this article critically excavates such a largely overlooked history to help unearth an explanatory framework for understanding exactly why the ongoing tragedy of famines will never be solved under a capitalist framework. Adapted from the source document.

This paper examines the case of Bob Geldof and Live Aid from the point of view of the relationship between visionary leadership and global social innovation. It briefly reviews the case. It then analyzes it in terms of four aspects of visionary leadership: the personal background of the visionary, the skills used in enacting the vision, the structural context in which the visionary operates, and the historical moment in which the visionary acts. It further reviews music as a symbolic system with powerful abilities to mobilize affect. It concludes that Geldof succeeded in initiating global action through the skillful juxtaposition of structures and processes from the music industry to the aid context and by the equally skillful linking of the affect generated by popular music with that generated by famine imagery to trigger philanthropic activity among consumers of popular music.

Intro -- Contents -- A Poet's Response: De Rong Radio -- Contributors -- Foreword: From Live Aid to Live 8 -- Preface: the UN Millennium Campaign -- Introduction: History in the making -- Making Poverty History -- The UN Declaration of Human Rights, printed with comments -- Universal Declaration of Human Rights -- 'It's Positively Medieval': Challenging Some Preconceptions of History -- Inequality: A Modest Proposal? -- The Other, Man-made Tsunami -- Africa, the Crisis Continent? -- How the Modern-day Missionaries Called 'Human Rights Activists' Help Wreak Havoc in Africa -- Twenty Years with AIDS -- Reviving Democracy -- Celebrating the Heroes of Democracy -- Cinema in Control and Conscience: Moviemakers from 'Double V' to McCarthyism -- Time to Make War History As Well -- Islam: Clash or Dialogue of Civilizations? -- Conflict and Personal Liberty -- What Price Imprisonment? -- 'Places Without a Future': the Jarrow March and the Great Depression -- Reporters on the Line: Risk Taking and Conscience in the Former Soviet Union -- The Media's Fault? -- Genocide: the Violence and the Silence -- Change – and North Korea: Is Aid Really Making a Difference? -- The Dregs in the Pot of Gold: the Irish Experience of Exchanging Dignity for Racism -- Silent Suffering, Stoic Resistance: Human Rights Abuses of Women and Children in Latin America -- Pious Aspiration or a Tool for Change? The Significance of the UN Convention on the Rights of the Child -- The Politics of Sexuality: Faith – the Final Frontier? -- Surviving Ourselves: Environment, Society and the Future of Our Civilization -- Greenbacks in the Garden of Eden: an Essay on How Not to Save the Rainforests -- Ourselves and Other Animals: the Ethics of Farming -- The Human Race – a Marathon, not a Sprint: the Millennium Development Goals and their Ethos

Celebrity diplomacy : who does it, how, and why? -- Star power and the United Nations : from Audrey Hepburn to Angelina Jolie -- The Bonoization of diplomacy? -- Bob Geldof : the antidiplomat -- Davos : mixing glamorous buzz with material bite -- (Uneasily) moving celebrity diplomacy beyond the Anglo-sphere -- Conclusion : the contentious future of celebrity diplomacy

Intro -- TITLE PAGE -- COPYRIGHT -- DEDICATION -- CONTENTS -- ACKNOWLEDGMENTS -- PROLOGUE -- 1. MY STORY -- 2. THE RT HON GORDON BROWN -- 3. CLIVE STAFFORD SMITH, OBE -- 4. JOHN WOOD -- 5. FRANNY MCGRATH -- 6. PAULA LOWTHER -- 7. BOB GELDOF, KBE -- 8. DIANE IRABARUTA -- 9. OLIVIA GILES -- 10. CHRIS MOON, MBE -- 11. SEAN CORRIGAN -- CONCLUSION -- APPENDIX: CHARITIES AND COURSES MENTIONED IN THIS BOOK -- ABOUT THE AUTHOR

"Banana Republic" is the 1980 single from new wave act, The Boomtown Rats and taken from their albumMondo Bongo."Banana Republic" was written by lead singer, campaigner, entrepreneur and generally rambunctious Dubliner, Bob Geldof, in collaboration with bass player Pete Briquette, real name Patrick Cusack, who's from Ballyjamesduff in County Cavan; not far from where my parents were born.

In the last two decades especially, we have witnessed the rise of 'celebrity' forms of global humanitarianism and charity work, spearheaded by entertainment stars, billionaires, and activist NGOs (e.g. Bob Geldof, Bono, Angelina Jolie, Madonna, Bill Gates, George Soros, Save Darfur, Medeçins Sans Frontières). This book examines this new phenomenon, arguing that celebrity humanitarianism legitimates, and indeed promotes, neoliberal capitalism and global inequality. Drawing on Slavoj Žižek's work, the book argues how celebrity humanitarianism, far from being altruistic, is significantly contamina.

Through their actions to eliminate extreme poverty and preventable diseases in Africa, Irish musicians Robert (Bob) Geldof and Bono (Paul David Hewson) today form a visible and celebrated centre in the world of humanitarianism as 'political activists,' 'celebrity diplomats,' 'global Samaritans,' men who, to quote former World Bank President Paul Wolfowitz, 'rock the establishment' (TIME 13.11.2006). Their contemporary calls to 'make poverty history' in Africa are so widely repeated and commonsensical that questions about the exceptionality of this humanitarian action itself rarely arise. In fact, despite the increasing visibility of celebrity humanitarianism, no research on their representations and truth-claims has been done among political scientists.By broadening the concept of the political to include the 'low' politics of celebrities, specifically their discourses, practices, ideals and world constructions, the aim of this article is to critically examine how Bob Geldof and Bono – the two most visible and celebrated Western spokespersons acting on behalf of Africa – constitute 'Africa' in their representations not only as a place, but also as serving purpose in the world system.The article argues that, while Geldof and Bono do push for economic changes for Africa, the spatio-temporality of their imaginaries and interpretations on Africa elaborate a colonial imaginary by (re)producing Africa as a specifically Western project and calling. By repeating and circulating the vocabulary of humanitarianism as a moral duty in combination with the engagement in power politics, these discourses not only serve a purpose in the maintenance of hegemonic Western activity in Africa, but are also instrumental in constructing consensus for the existing world order, where the global South is, and remains, in a subordinate position to the West.

In these incendiary essays, George Monbiot tears apart the fictions of religious conservatives, the claims of those who deny global warming and the lies of the governments and newspapers that led us into war. He takes no prisoners, exposing government corruption in devastating detail while clashing with people as diverse as Bob Geldof, Ann Widdecombe and David Bellamy. But alongside his investigative journalism, Monbiot's book contains some remarkable essays about what it means to be human. Monbiot explores the politics behind Constable's The Cornfield, shows how driving cars has changed t