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| Do They Know It's Christmas? | |
|---|---|
| Name | Do They Know It's Christmas? |
| Artist | Band Aid |
| Released | 1984 |
| Recorded | 25 November 1984 |
| Genre | Charity single, pop |
| Length | 3:35 |
| Label | Phonogram |
Do They Know It's Christmas? is a 1984 charity single recorded by the supergroup Band Aid to raise funds for famine relief in Ethiopia. The song brought together prominent figures from British and Irish popular culture to generate rapid fundraising and media attention, influencing subsequent relief efforts and benefit recordings worldwide. It is notable for its role in mobilizing musicians, broadcasters, and record companies in large-scale humanitarian campaigns.
The project was initiated after the broadcast of a BBC Newsnight report on the 1983–1985 famine in Ethiopia and subsequent coverage by BBC journalists and presenters who sought to intervene. Songwriter Bob Geldof and musician Midge Ure convened sessions that drew on networks including Island Records, Phonogram, and managers from Virgin Records and CBS Records. Prominent artists from labels such as Parlophone, EMI, RCA Records, and Warner Bros. Records were contacted, while broadcasters including ITV, Channel 4, and Radio 1 provided publicity. Influential figures from live events like Live Aid and organizations like Oxfam, Save the Children, British Red Cross, and UNICEF were engaged in planning outreach and distribution of proceeds.
The recording session at SARM Studios in Notting Hill included artists from bands and acts associated with labels and venues connected to The Rolling Stones, Queen, U2, Duran Duran, Culture Club, Wham!, Spandau Ballet, The Police, Dire Straits, Eurythmics, Simple Minds, Phil Collins, Sting, Paul Weller, and Elvis Costello. Producers and engineers linked to studios such as Abbey Road Studios, Olympic Studios, Trident Studios, and AIR Studios contributed equipment and technical expertise. The session involved arrangers familiar with work for Michael Jackson, Prince, Madonna, David Bowie, Paul McCartney, George Harrison, Ringo Starr, Eric Clapton, Mark Knopfler, Peter Gabriel, Brian Eno, and Trevor Horn. Musicians and backing vocalists had histories with festivals and events like Glastonbury Festival, Reading Festival, Montreux Jazz Festival, and tours linked to Bob Marley, The Clash, Joy Division, and Siouxsie and the Banshees.
Upon release by labels including Phonogram, the single topped charts in the United Kingdom, Ireland, Norway, Sweden, Australia, New Zealand, and other national charts compiled by organizations such as Official Charts Company, Billboard, and ARIA. Retail distribution involved chains tied to HMV, Tower Records, Virgin Megastore, and independent shops represented by the British Phonographic Industry. Radio play was widespread on stations including BBC Radio 1, Capital Radio, Heart FM, and BBC Radio 2, while television promotion featured appearances on Top of the Pops, The Tube, The Old Grey Whistle Test, and MTV. Sales milestones were reported alongside fundraising coordination with World Food Programme, United Nations, Ethiopian Orthodox Tewahedo Church, and charitable trusts established by celebrities such as Bob Geldof and Midge Ure.
Critics and commentators from outlets like NME, Melody Maker, The Times, The Guardian, The Daily Telegraph, and The Independent offered mixed reviews praising the initiative while questioning lyrical content and representation. Academics and activists associated with Amnesty International, Human Rights Watch, Oxfam, and ActionAid debated efficacy and ethical implications, referencing analyses published in journals linked to Oxford University Press, Cambridge University Press, and institutions such as London School of Economics and University of Oxford. Controversies involved discussions of imagery and rhetoric connected to histories of Colonialism, critiques by artists like Paul Simon and commentators tied to The Observer, and debates aired on programs anchored by presenters from BBC Radio 4 and Channel 4 News. Responses from African intellectuals and representatives from African Union, Ethiopia, Sudan, Nigeria, Kenya, and South Africa contributed to reassessments of fundraising strategies.
The promotional video and televised segments used footage shot in London studios and venues associated with SARM Studios, Hammersmith Apollo, Wembley Arena, and broadcast partners including BBC Television, ITV, and MTV Networks. Directors and cinematographers who had worked on videos for Duran Duran, Phil Collins, David Bowie, Madonna, and Michael Jackson contributed to editing and production. Promotional campaigns included charity telethons influenced by formats from America's Funniest Home Videos and benefit events such as Live Aid and Farm Aid, with presenters from Top of the Pops and personalities from BBC News and ITV News helping publicize donation hotlines and mail-in campaigns coordinated through postal services like Royal Mail.
The single inspired subsequent charity recordings and events including Band Aid II, Band Aid 20, USA for Africa, We Are the World, Live Aid, Live 8, ChildLine Rocks, and fundraising efforts by Comic Relief and Red Nose Day. It affected policy discussions in institutions such as United Nations General Assembly, European Commission, International Monetary Fund, and World Bank about aid delivery and media-driven philanthropy. The project influenced artists, managers, and producers across labels like EMI, Sony Music Entertainment, Universal Music Group, and promoters at SRO-style organizations, while earning recognition in retrospectives by Rolling Stone, Mojo, Q Magazine, and archives at British Library and The National Archives. The single remains a touchstone for discussions involving celebrity activism, humanitarian fundraising, and the intersection of popular culture with international relief efforts.
Category:1984 singles Category:Charity singles Category:British pop songs