1 00:00:01,440 --> 00:00:03,440 Speaker 1: And Amanda jam Nason. 2 00:00:03,640 --> 00:00:05,480 Speaker 2: I was going to watch Married at First Sight last night, 3 00:00:05,519 --> 00:00:07,520 Speaker 2: but I thought, like a crack addiction, you just can't 4 00:00:07,560 --> 00:00:08,479 Speaker 2: have it every night. 5 00:00:09,320 --> 00:00:12,039 Speaker 1: Really, no, it's not good. It's not good. Next me 6 00:00:12,119 --> 00:00:13,960 Speaker 1: picking on my face and Robin Old Ladies. 7 00:00:14,640 --> 00:00:17,360 Speaker 2: So I watched. I watched Netflix and I'm so glad 8 00:00:17,400 --> 00:00:20,280 Speaker 2: I did. I watched The Greatest Night in Pop docco. 9 00:00:21,079 --> 00:00:23,400 Speaker 3: You have to watch doco about We Are. 10 00:00:23,360 --> 00:00:27,560 Speaker 2: The World USA for Africa. And you might remember Do 11 00:00:27,560 --> 00:00:30,160 Speaker 2: They Know It's Christmas? Which was band Aid that came first, 12 00:00:30,280 --> 00:00:32,839 Speaker 2: that was the year before. So Harry Belafonte, you know, 13 00:00:33,400 --> 00:00:36,839 Speaker 2: he said him had an idea on the success of 14 00:00:37,120 --> 00:00:40,240 Speaker 2: Do They Know It's Christmas? And he said, in his words, 15 00:00:40,320 --> 00:00:43,680 Speaker 2: you know, white people are singing for what's going on 16 00:00:43,720 --> 00:00:45,199 Speaker 2: in our country in Africa. 17 00:00:45,320 --> 00:00:47,279 Speaker 1: You know, we should get black people to do this. 18 00:00:47,360 --> 00:00:48,360 Speaker 1: We should get a song. 19 00:00:48,840 --> 00:00:53,720 Speaker 2: So he approached a guy called Ken Craigan who is 20 00:00:53,760 --> 00:00:56,560 Speaker 2: a fundraiser but he also was Lionel Richie's manager. 21 00:00:56,600 --> 00:00:57,440 Speaker 1: So when Lionel. 22 00:00:57,240 --> 00:01:01,040 Speaker 2: Richie left the Commodoores, this man got Lionel as a 23 00:01:01,040 --> 00:01:04,640 Speaker 2: solo performer and they came up with this idea. So 24 00:01:04,800 --> 00:01:08,800 Speaker 2: they managed to get Quincy Jones on board, the producer brilliant, and. 25 00:01:08,720 --> 00:01:11,440 Speaker 1: Then Michael Jackson. So Michael's going the old girl, I'll 26 00:01:11,400 --> 00:01:11,760 Speaker 1: love a girl. 27 00:01:11,800 --> 00:01:13,399 Speaker 3: He was shocked to hear that people thought he was black. 28 00:01:14,680 --> 00:01:17,240 Speaker 1: I'll have a guard this. So Quincy said, Okay, what 29 00:01:17,280 --> 00:01:17,840 Speaker 1: we have to do. 30 00:01:17,920 --> 00:01:20,520 Speaker 2: We're going to get a wish list of all these 31 00:01:20,600 --> 00:01:22,920 Speaker 2: artists that I want to sing on this song. 32 00:01:23,520 --> 00:01:26,880 Speaker 1: And Lionel and Michael were tasked with writing the song. 33 00:01:27,760 --> 00:01:30,039 Speaker 2: And the only time that they could record this song, 34 00:01:30,040 --> 00:01:31,319 Speaker 2: they're getting all these artists. 35 00:01:31,440 --> 00:01:33,760 Speaker 1: Names are getting thrown out everywhere, you know. They want 36 00:01:33,760 --> 00:01:37,200 Speaker 1: a Prince, they want to Bruce Springsteen, they wanted Huey Lewis, 37 00:01:37,240 --> 00:01:40,720 Speaker 1: all those artists that were big at the time to 38 00:01:40,760 --> 00:01:45,759 Speaker 1: do this song. So bearing in mind, it's a logistical nightmare, imagine, imagine, 39 00:01:45,760 --> 00:01:46,600 Speaker 1: So it comes to pass. 40 00:01:46,680 --> 00:01:48,160 Speaker 2: The only time they could do it is that the 41 00:01:48,160 --> 00:01:51,760 Speaker 2: American Music Awards in which Lionel Richie's hosting, because all 42 00:01:51,760 --> 00:01:53,360 Speaker 2: those artists will be together. 43 00:01:53,280 --> 00:01:55,960 Speaker 3: Right, and so they'd go from the awards to the recording, yes, study. 44 00:01:55,800 --> 00:01:57,880 Speaker 2: And at the A and M studios. They've said, well 45 00:01:57,880 --> 00:02:00,160 Speaker 2: that that's going to be perfect for this, but they 46 00:02:00,200 --> 00:02:03,240 Speaker 2: had to keep it all hush hush because people would 47 00:02:03,240 --> 00:02:06,040 Speaker 2: mob the area or imagine someone could blow up the place, 48 00:02:06,120 --> 00:02:09,720 Speaker 2: and you know there's a whole rough and at the time. 49 00:02:09,760 --> 00:02:13,480 Speaker 3: You'd get some two bit singer tuning up. 50 00:02:14,040 --> 00:02:17,919 Speaker 1: Don't let him in, don't let ager do in blacklace, 51 00:02:18,400 --> 00:02:21,440 Speaker 1: don't you do it? So it was quite extraordinary. 52 00:02:21,560 --> 00:02:26,400 Speaker 2: And Peter andre No so Quincy Jones and Michael Jackson 53 00:02:26,720 --> 00:02:28,880 Speaker 2: so Quincy Jones always has to be Michael Jackson and 54 00:02:28,919 --> 00:02:30,600 Speaker 2: Lionel Richie to write this song. 55 00:02:30,680 --> 00:02:31,480 Speaker 3: So they hadn't written it. 56 00:02:31,520 --> 00:02:32,320 Speaker 1: They hadn't written the song. 57 00:02:32,360 --> 00:02:35,040 Speaker 2: So and they've asked Stevie wonder and they said, Stevie, 58 00:02:35,120 --> 00:02:37,679 Speaker 2: just give us a call, and Stevie never called them. 59 00:02:37,960 --> 00:02:41,399 Speaker 2: So eight days before they write We Are the World, 60 00:02:41,440 --> 00:02:44,040 Speaker 2: they come up with the song. So Michael and Lionel 61 00:02:44,200 --> 00:02:47,200 Speaker 2: record the song and then Stevie shows up just. 62 00:02:47,120 --> 00:02:48,840 Speaker 1: To say've recorded with another song. 63 00:02:48,880 --> 00:02:50,519 Speaker 2: It's a demo. When he comes along and they said, 64 00:02:50,520 --> 00:02:53,160 Speaker 2: with Stevie, we asked you three weeks ago, we need 65 00:02:53,200 --> 00:02:55,799 Speaker 2: help with this. But what I you know, I've been 66 00:02:55,800 --> 00:02:57,760 Speaker 2: aware of this song for a long long time. And 67 00:02:57,760 --> 00:03:00,320 Speaker 2: there is what this documentary goes how fraud was to 68 00:03:00,360 --> 00:03:03,720 Speaker 2: get all these people together. For example, there's a bit 69 00:03:03,760 --> 00:03:07,320 Speaker 2: where Stevie Wonder suggests that they sing in Swahili in 70 00:03:07,360 --> 00:03:11,440 Speaker 2: the song Whyalon Jennings is there and whale and Jenny. 71 00:03:11,200 --> 00:03:13,840 Speaker 1: Says, a good old boy, don't sing no Swahili and 72 00:03:13,880 --> 00:03:15,919 Speaker 1: he just walked out. He's not in it, so he's 73 00:03:15,919 --> 00:03:18,160 Speaker 1: not it. You see him in it, but he's got. 74 00:03:18,080 --> 00:03:19,360 Speaker 3: But they don't sing Swahili. 75 00:03:19,480 --> 00:03:20,000 Speaker 1: No, no, no. 76 00:03:20,040 --> 00:03:22,240 Speaker 2: They meanaged to talk Stevie out that. They said, well, 77 00:03:22,240 --> 00:03:25,120 Speaker 2: actually there's no Swahi. We're not singing to the Swahili. 78 00:03:25,160 --> 00:03:27,200 Speaker 2: How about we just keep it in the And someone 79 00:03:27,240 --> 00:03:30,000 Speaker 2: made a good point. Bob Geldoff came along. They got 80 00:03:30,040 --> 00:03:32,360 Speaker 2: Bob Geldoff to give him a pep talk and his 81 00:03:32,440 --> 00:03:35,840 Speaker 2: speech is so rousing. But the thing about it is 82 00:03:36,840 --> 00:03:40,160 Speaker 2: you've got, like Cindy Lauper's boyfriend said, don't be a 83 00:03:40,200 --> 00:03:40,560 Speaker 2: part of this. 84 00:03:40,600 --> 00:03:42,480 Speaker 1: It's going to be credful. It won't It. 85 00:03:42,440 --> 00:03:44,080 Speaker 3: Would have looked like you were doing a copy cut, 86 00:03:44,360 --> 00:03:46,119 Speaker 3: a copy of the British one. 87 00:03:46,240 --> 00:03:46,920 Speaker 1: Yeah, exactly. 88 00:03:46,920 --> 00:03:47,840 Speaker 3: Could it be as good? 89 00:03:48,280 --> 00:03:50,160 Speaker 2: And in this bit here I just love This is 90 00:03:50,200 --> 00:03:54,160 Speaker 2: a Dion Warwick Willie Nelson Algiaux who was drunk out 91 00:03:54,160 --> 00:03:57,280 Speaker 2: of his mind on wine, Bruce Springsteen who's just flown 92 00:03:57,440 --> 00:03:59,760 Speaker 2: back from a tour and showed up in his bomby 93 00:03:59,760 --> 00:04:02,040 Speaker 2: out old car and is parked out the front, and 94 00:04:02,320 --> 00:04:04,880 Speaker 2: Kenny Logans and they've put them all together and they're 95 00:04:04,880 --> 00:04:05,360 Speaker 2: all nervous. 96 00:04:05,360 --> 00:04:07,600 Speaker 1: They're all that little kids on a school day. 97 00:04:07,840 --> 00:04:10,280 Speaker 2: And they had to pick which singer was going to 98 00:04:10,360 --> 00:04:13,440 Speaker 2: sing which part. Who decided that, Well, that was Quincy 99 00:04:13,560 --> 00:04:16,080 Speaker 2: Jones and he was saying, well, this is a vocal arrangement, 100 00:04:16,200 --> 00:04:18,880 Speaker 2: and Willie's going, hang on, I following DM Warwick and 101 00:04:18,920 --> 00:04:22,359 Speaker 2: you can actually hear the hesitancy in Willy's voice here. 102 00:04:24,040 --> 00:04:25,080 Speaker 3: Sent him your heart. 103 00:04:27,000 --> 00:04:33,400 Speaker 4: So they go, that's so much and will they star 104 00:04:33,680 --> 00:04:43,359 Speaker 4: and pretty different styles of voice. 105 00:04:43,520 --> 00:04:47,680 Speaker 2: Yeah, that's Olgero even drunk, he sounds beautiful. 106 00:04:48,279 --> 00:04:49,159 Speaker 1: And listen to the boss. 107 00:04:52,240 --> 00:04:54,039 Speaker 3: So were they only intimidated by each other? 108 00:04:54,120 --> 00:04:57,600 Speaker 2: Yes, they're all. They're all And Sydney Laud says, there's 109 00:04:57,600 --> 00:04:58,800 Speaker 2: one bit that's Kenny Loggins. 110 00:04:58,839 --> 00:05:01,719 Speaker 1: Both ways they put that was a that's kiddy. 111 00:05:02,160 --> 00:05:04,160 Speaker 2: That was the thing because Cindy didn't know anyone except 112 00:05:04,240 --> 00:05:06,520 Speaker 2: for Billy Joel, like, they're all there, but they're all 113 00:05:06,520 --> 00:05:07,400 Speaker 2: just normal people. 114 00:05:07,640 --> 00:05:10,640 Speaker 3: But isn't amazing how many of those long term stars 115 00:05:10,640 --> 00:05:13,760 Speaker 3: because it is like a moment in amber those individuals 116 00:05:13,760 --> 00:05:16,280 Speaker 3: who were not who were famous at the time, and 117 00:05:16,360 --> 00:05:18,200 Speaker 3: so many of them have gone on to be famous 118 00:05:18,200 --> 00:05:19,400 Speaker 3: for years exactly. 119 00:05:19,520 --> 00:05:21,360 Speaker 2: And there was a bit they got Sheila e on board. 120 00:05:21,440 --> 00:05:23,679 Speaker 2: She was going out with Prince. They really wanted Prince 121 00:05:23,720 --> 00:05:25,400 Speaker 2: to be a part of it. Prince wouldn't be. 122 00:05:25,400 --> 00:05:25,880 Speaker 1: A part of it. 123 00:05:25,920 --> 00:05:26,840 Speaker 3: So is she part of it? 124 00:05:27,080 --> 00:05:28,840 Speaker 1: She's part of the chorus, but they didn't give her 125 00:05:28,880 --> 00:05:29,560 Speaker 1: a line to sing. 126 00:05:29,800 --> 00:05:32,520 Speaker 2: So in the end, Huey Lewis is there from Huey 127 00:05:32,560 --> 00:05:34,599 Speaker 2: Lewis and the News and they got him to sing 128 00:05:34,640 --> 00:05:36,880 Speaker 2: Princess Light and hue is sitting there going, well, I 129 00:05:36,960 --> 00:05:39,559 Speaker 2: just thought I was part of the current chorus. Next minute, 130 00:05:39,560 --> 00:05:43,200 Speaker 2: he's got to follow Michael Jackson and have a listen 131 00:05:43,279 --> 00:05:45,480 Speaker 2: to this. Just this gives you so much perspective. This 132 00:05:45,560 --> 00:05:48,839 Speaker 2: is Huey Sandwich between Michael Jackson and Cindy Lauper. 133 00:05:49,680 --> 00:05:50,039 Speaker 1: We're a. 134 00:06:00,160 --> 00:06:07,920 Speaker 2: Great job, was it? 135 00:06:08,720 --> 00:06:17,240 Speaker 1: And then Kim Khans and at the end of that fit, 136 00:06:17,480 --> 00:06:19,159 Speaker 1: Cindy says, did I do too much? 137 00:06:19,279 --> 00:06:21,080 Speaker 2: You know? It was like it was just nuts. And 138 00:06:21,120 --> 00:06:23,760 Speaker 2: then Bob Dylan, Poor Bob Dylan standing there and he 139 00:06:23,800 --> 00:06:25,400 Speaker 2: looks just totally lost. 140 00:06:25,640 --> 00:06:26,760 Speaker 3: Not known as a singer. 141 00:06:28,080 --> 00:06:29,480 Speaker 2: And there's a bit where he goes up to Steve 142 00:06:29,800 --> 00:06:32,480 Speaker 2: Wonder and says, can you just play it on the piano? 143 00:06:32,720 --> 00:06:34,360 Speaker 2: I don't know where I feed in in this song. 144 00:06:34,640 --> 00:06:38,440 Speaker 2: Then Stevie starts doing impersonation of Bob Dylan, and that's 145 00:06:38,440 --> 00:06:39,600 Speaker 2: how we got Bob doing this. 146 00:06:44,800 --> 00:06:52,400 Speaker 1: That's not Stevie doing an impression. I just think, is 147 00:06:52,440 --> 00:06:54,000 Speaker 1: it today's artist? What would you do? 148 00:06:54,120 --> 00:06:56,960 Speaker 2: Because today's artist is all about cash and booty and 149 00:06:57,000 --> 00:06:57,360 Speaker 2: what's in it? 150 00:06:57,600 --> 00:06:59,920 Speaker 3: Well, that's not true. We might have thought that about 151 00:07:00,080 --> 00:07:01,760 Speaker 3: them and about the ones who did the English one, 152 00:07:01,800 --> 00:07:03,880 Speaker 3: but on that night they were told leave your ego 153 00:07:03,920 --> 00:07:06,040 Speaker 3: at the door, and I'm sure modern performers would do 154 00:07:06,080 --> 00:07:06,479 Speaker 3: the same. 155 00:07:06,600 --> 00:07:09,400 Speaker 1: Nicki Minat, So who would you get? 156 00:07:09,520 --> 00:07:10,080 Speaker 3: Who would you get? 157 00:07:10,120 --> 00:07:11,880 Speaker 1: We get Taylor Swift, she's a big daddy. 158 00:07:12,000 --> 00:07:13,880 Speaker 3: Yeah, what about you get you know, you'd need someone 159 00:07:13,880 --> 00:07:16,800 Speaker 3: from the country genre, you get Luke Comb something like that. 160 00:07:16,760 --> 00:07:19,000 Speaker 1: And then an old person who would be an old 161 00:07:19,000 --> 00:07:22,920 Speaker 1: fart billy Joel he'd be in there. Jem I right, 162 00:07:23,000 --> 00:07:25,480 Speaker 1: you're young, ferdy whap? 163 00:07:25,640 --> 00:07:27,200 Speaker 3: I don't know who he is. But he'd be front, 164 00:07:28,360 --> 00:07:30,080 Speaker 3: they'd all be there. She'd be looking out of a 165 00:07:30,120 --> 00:07:32,040 Speaker 3: saucer behind the fridge weekend. 166 00:07:33,280 --> 00:07:34,920 Speaker 2: I think, at any rate we should put this song 167 00:07:34,920 --> 00:07:37,080 Speaker 2: on because it gives you a great appreciation. It's certainly 168 00:07:37,120 --> 00:07:39,480 Speaker 2: worth what's the doco called. The doco is called The 169 00:07:39,520 --> 00:07:41,520 Speaker 2: Greatest Night in Poppets on Netflix. 170 00:07:41,720 --> 00:07:43,400 Speaker 1: It is so good I'll look out for it.