We Are the World

We Are the World
source
Name	"We Are the World"
Alt	Single cover art
Type	single
Artist	USA for Africa
Released	March 7, 1985
Recorded	January 28, 1985
Studio	A&M Studios, Los Angeles
Genre	Pop, charity single
Length	7:08
Writer	Michael Jackson, Lionel Richie
Producer	Quincy Jones, Michael Omartian

We Are the World "We Are the World" is a 1985 charity single recorded by the supergroup USA for Africa. Conceived to raise funds for famine relief in Ethiopia, the song brought together leading figures from popular music and entertainment for a single-session recording produced in Los Angeles. It became an international commercial success and a cultural touchstone, notable for its celebrity ensemble, philanthropic impact, and role in popularizing large-scale charity recordings.

Background and Conception

The project originated amid global concern over the 1983–1985 Ethiopian famine and followed high-profile benefit events such as Live Aid and the Concert for Bangladesh. Songwriters Michael Jackson and Lionel Richie composed the song during sessions arranged by Harry Belafonte and proposed to organizers including Ken Kragen and Stevie Wonder. Producer Quincy Jones and music executive Irving Azoff coordinated logistics, while philanthropists and activists like Bob Geldof, John Paul Getty III, and representatives from United Nations-linked agencies were consulted. The initiative drew upon precedents set by charity recordings like the 1971 "Bangla Desh" and reflected the rise of celebrity humanitarianism seen in events associated with Live Aid and figures such as Mahatma Gandhi-referenced humanitarians in media narratives. Record labels including Columbia Records, Arista Records, and Motown provided distribution and promotional support.

Recording and Production

The recording session took place at A&M Studios in Hollywood on January 28, 1985, engineered by studio veterans who had worked with artists such as Stevie Wonder, Bruce Springsteen, and Diana Ross. Producer Quincy Jones arranged orchestral overdubs and worked alongside co-producer Michael Omartian to blend pop, soul, and gospel influences. Musicians included session players affiliated with Tina Turner, Ray Charles, and Paul Simon; string and horn arrangements referenced techniques used by arrangers for Phil Spector and George Martin. Technical staff used equipment common to the era: analog mixing consoles employed in sessions by Fleetwood Mac and The Rolling Stones, and tape machines similar to those used at Sun Studios and Capitol Records. The session’s chorus and solo assignments were coordinated to feature distinct timbres from performers with careers spanning Motown Records, Atlantic Records, and Columbia Records.

Release, Reception, and Chart Performance

Released by Columbia Records on March 7, 1985, the single debuted amid extensive media coverage from outlets associated with coverage of events like Saturday Night Live and broadcasts connected to MTV. Critical responses compared the recording to ensemble charity singles such as the Concert for Bangladesh release and to group performances at events like Live Aid. Commercially, it topped charts in markets where artists had previously charted with hits on lists overseen by organizations like Billboard and chart compilers linked to Recording Industry Association of America. The single received awards from institutions including the Grammy Awards and the American Music Awards, and it was certified multi-platinum by certification bodies such as RIAA.

Music Video and Visual Presentation

The accompanying video documented the recording session at A&M Studios and intercut footage of famine relief efforts linked to organizations like UNICEF and World Food Programme. Direction and editing echoed documentary practices used in films by Michael Moore and music films associated with Martin Scorsese’s archival techniques. Broadcast rotation on MTV and televised segments on networks with programming like NBC morning shows amplified the visual impact. The visual narrative emphasized cross-genre collaboration by including close-ups of figures who had previously appeared in visual collaborations with artists such as Madonna and Prince.

Personnel and Contributors

Performers represented a cross-section of 1980s popular music, drawn from careers associated with labels and ensembles including Motown, Atlantic Records, Capitol Records, and Epic Records. Lead vocalists and ensemble members included artists whose work intersected with names like Diana Ross, Ray Charles, Bruce Springsteen, Stevie Wonder, Bob Dylan, Paul Simon, Bob Geldof, Billy Joel, Cyndi Lauper, Tina Turner, Joan Baez, Huey Lewis, Lionel Richie, and Michael Jackson. Production and technical credits featured individuals who had collaborated with Quincy Jones on past projects, session musicians with resumes alongside B.B. King and Eric Clapton, and executives from corporations such as Columbia Records and philanthropic organizations interacting with UNICEF.

Impact, Legacy, and Philanthropy

The single catalyzed fundraising for famine relief administered by NGOs with ties to United Nations agencies and non-governmental networks influenced by campaigns led by figures like Bob Geldof and Harry Belafonte. Its model inspired subsequent benefit recordings and events involving artists connected to USA for Africa alumni, and it informed corporate and philanthropic partnerships exemplified by later collaborations with institutions like The Salvation Army and CARE International. Culturally, it remains referenced alongside milestone charity projects such as Live Aid and historical benefit efforts like the Concert for Bangladesh, and it continues to be studied in discussions of celebrity activism, media mobilization, and transnational humanitarian fundraising within archives maintained by organizations like Smithsonian Institution and broadcast collections at Library of Congress.

Category:1985 singles Category:Charity singles