It was April 5, the observed Good Friday of 1985. Within an hour's time 8,000 separate radio stations had made at least one broadcast of this song called "We Are the World," a seven-minute song by an organization called USA for Africa. It was produced by Quincy Jones, written by Michael Jackson & Lionel Richie and featured both their voices, plus those of Tina Turner, Bruce Springsteen, Willie Nelson, Kenny Loggins, Paul Simon, Stevie Wonder, Diana Ross and so many others. The purpose of the single was to spread public awareness in the western world of famine in third-world African nations, such as Ethiopia. It's very likely that, if there were any followers of American popular music that hadn't listened to "We Are the world" or heard of USA for Africa prior to this date, the chances are good that they knew about both afterwards. And, this documentary hosted by Jane Fonda would serve to enhance that knowledge upon its release later that year.
I was five years old at the time of We Are the World's popular period. I was too young to know the meaning of starvation or where Africa was. I do remember hearing the song very often, both on the radio and the tape player. After we obtained a copy of this special, the whole family watched it regularly (it became one of those staples that I couldn't get away from). One reason for this is that, it featured Jane Fonda. I'd previously only heard her voice in audio form. This was the first instance where I remember seeing her in front of a camera. Also, it was excellent to see how Quincy Jones looked and to get a glimpse of people such as Michael Jackson, Stevie Wonder, Tina Turner and Kenny Rogers in the same studio together.
Twenty years later, I'd become a musician and learned a considerable amount about writing, arranging, recording and performing. Looking back, I came to understand how significant this documentary was, being my first acquired knowledge of the recording process or what it's like being in a studio. Also, the song and the way it was recorded harkens back in my mind to the Beatles' original version of "Hey Jude" from 1968. I've never worked in a top-grade studio (all my experiences have been in project studio environments) or in audiovisual, but I do have ultimate respect for all the artists, musicians, engineers, filmmakers and crew that had a hand in the song and the videotaping of the sessions. I'm in all their debts, as are so many of us whether or not we know it. Someday, I hope to work in big studios (like A&M or Lion Share) and to work with the likes of Quincy Jones or Humberto Gatica. I'd never be able to produce another "We Are the World," but I also wouldn't want to. It's not necessary, anymore than an interest in producing another "Hey Jude."
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