By Jacob Katel
By Laurie Charles
By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
A corridor on the second floor of Miami Children's Hospital in southwest Miami is set aside as the Observation Unit, a part of the sprawling medical center where sick and dying children are treated. At the end of the hallway on a recent afternoon, a group of women could be found mingling, munching salads, killing time. There were short ones and tall ones, blondes and redheads and brunettes, some in blue jeans held up by hip strength alone, one in an ornate black formal dress with a red-ribbon pin on the lapel, all of them women of such spectacular outward appearance you'd think they were models from the Irene Marie agency.
And you'd be right.
The models are part of a video shoot to accompany a song called "The Gift" written by local favorite Diane Ward. The song -- and now the video -- are devoted to raising money for and awareness of a program that helps children affected by AIDS.
Alex Moreno is directing the clip for Ward's song after the two met and became friends while working on another video. After running a stress-management company here and in New York City, Moreno decided he'd like to make a career in education, particularly with the deaf. About a year ago, he heard from a woman who was making a music video -- of all things -- with a deafness theme. "Being in Miami, with its music scene growing," Moreno says, "I persuaded her to find local talent. Then we couldn't decide between Nil Lara's 'My First Child' and Arlan Feiles's 'Crazy Mixed Up World' [as music for the clip]. Nil already had a video, so that was the end of the argument."
Drawing on a background in theater and a brief stint as a scriptwriter, Moreno began piecing together footage. "I was a novice," he admits, "but I learned a lot on that production." One of the actors in that video, seen briefly playing guitar, was Diane Ward.
"I love kids. I just do," Ward notes. "AIDS is such a tragic disease. Kids are so innocent. It's just not fair." Late last year, Ward -- who built her rock reputation over the past decade fronting Bootleg, the Wait, and Voidville while also making a mark as a solo artist -- was taking a course that dealt with leadership and self-expression. "One assignment," she recalls, "was to go into your community and make some sort of difference. The music community is my community."
So off she went, researching various causes and charities, cognizant of such altruistic ventures as Live Aid and Farm Aid and Band-Aid and "We Are the World." While talking to folks at the Health Crisis Network (HCN), an AIDS advocacy organization, she found out about the Riccardia Children's Program, a year-old project named for Riccardia Palmer Michel, a little girl who died of AIDS in 1992, just before her fifth birthday.
"It turned me on because it involved kids," explains Ward, who has no children. "And the people at HCN are good people. So I decided to write a tune and record it" to heighten interest in the Riccardia program. Taking a cue from Quincy Jones and Michael Jackson and their "We Are the World" project, Ward chose to invite some 75 local artists to take part in a recording session at the Studio. Musician-producer-Studio-co-owner Rat Bastard Falestra donated the recording time and his engineering services. "This was around the time of [Tropical Storm] Gordon," Ward remembers, "and it was really bad weather. Even so, 50 people showed up." Moreno was one of them, on hand to film the recording session.
"We'd been speaking often," Moreno says of Ward. "When she told me she was writing a song about kids with AIDS, and me as a special educator, what could I do? I can't sing. So I [video]taped the recording session, but we had no idea what to do with it; maybe a PSA or documentary. A friend of mine died of AIDS around Thanksgiving. Just after Christmas another friend fell ill and died before I even had a chance to see him."
It was mid-January; Moreno was turning 30. He went to a park in Coconut Grove and penned a script drawing on visual metaphors for AIDS issues such as isolation, pity, denial, anger. "My contribution would be making the video," he says. For two months Moreno and his army of volunteers videoed at various locations (HCN, FIU, the hospital) and acquired from WCIX-TV (Channel 6) news footage of Riccardia Palmer Michel (described by Moreno as "horrific").
"We're still pretty much on schedule," Moreno mumbles in his balmy British accent. The ponytailed filmmaker has been overseeing shoots since dawn and won't finish this day's work until dark. Much of the time is consumed by waiting. A professional makeup artist, Arlyn Albet, dresses up the face of one of the Irene Marie women, while videographer James "Jimmy Mac" McMillan, a freelancer who usually specializes in Caribbean music clips, sets up a video monitor next to an Abbott Lifecare 5000 Infusion System in the hallway. All together, two dozen people -- cameramen, models, makeup artists, set designers -- are volunteering their time and talent. The low-key but charismatic Moreno sips soda and tries to deal with everyone at once, making sure the crew is okay with what's going on.