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They were the world. They were the kids rock'n'roll. As hard to believe, 33 years ago, on July 13, 1985, more than 75 artists, 170,000 viewers and 1.5 billion viewers in 150 countries gathered for Sir Bob Geldof's Live Aid Superconcerts. – jointly organized at Wembley Stadium in London and John F. Kennedy Stadium in Philadelphia, and inspired by the charity singles "Do They Know It's Christmas?" and "We Are The World", to raise funds for the famine relief in Ethiopia. [19659002] Three decades later, where these funds went, exactly, is still a hot topic of debate. However, every child of the 80s remembers listening to MTV, and every artist who has honored these two moving scenes agrees to say that the history of music has been made that day. the. Prince Charles and Princess Diana rub shouldered shoulders with David Bowie; Sean Penn (aka Mr. Madonna Ciccone at the time) trailed in a trailer with Simple Minds; Mick Jagger stared at Tina Turner on live television; the original "Fab Five" Duran Duran played his last show for the next 18 years; Phil Collins jumped on the Concorde to appear at both concerts; Queen and U2 have played concerts of a lifetime; Thomas Dolby and Howard Jones joined forces for a world tour.
Below, a dozen Live Aid alumni on both sides of the pond reflect on this memorable day: surrealist star observations, nerves, backstage shenanigans, mishaps on stage, misplaced money, and more.
= "text" content = " MARTHA QUINN, MTV VJ (Philadelphia): My Affirmation is Live Aid 1985 was probably the pinnacle of rock'n'roll." reactid = "30"> MARTHA QUINN, MTV VJ (Philadelphia): My Controversy is Live Aid 1985 was probably the pinnacle of rock'n'roll
<p type = "text "happy =" JOHN TAYLOR, DURAN DURAN / POWER STATION (Philadelphia): When I think back to Live Aid, I'm almost overwhelmed by the glory of it all: pop culture will never be the same again 19659004] "data-reactid =" 31 "> JOHN TAYLOR, DURAN DURAN / POWER STATION (Philadelphia): When I think back to Live Aid, I'm almost overwhelmed by the glory of it all. Pop culture will never be the same …
STEVE NORMAN, SPANDAU BALLET (London): It was an amazing atmosphere at Wembley Stadium. Our singer was wearing a full-length leather coat, even though it was a beautiful sunny day in July. "data-reactid =" 32 "> STEVE NORMAN, SPANDAU BALLET (London): This was an amazing atmosphere at Wembley Stadium.It was a very sunny day.Our singer had a full length leather coat! Even though it was a beautiful day of sunny July.
= "text" content = " ADAM ANT (London): I did" Viva La Rock ", because I thought it was in the spirit of the day, but in retrospect, it was not a very pleasant experience for me – because people came to me incessantly for 30 years saying, " Why did not you do it? Deliver …" Initially, I was asked to do four songs, and then I think that big groups started to show interest – Queen, Bowie – and later in the day by Harvey Goldsmith, the promoter, I was told. Fortunately, I was run by Miles Copeland, who ran Sting, who said, "If you do not put Adam, you do not have Sting. got a song . "data-reactid =" 33 "> ADAM ANT (London): I did" Viva La Rock "because I thought it was in the spirit of But in retrospect, it was not a very pleasant experience for me – because people came to talk to me incessantly for 30 years saying, " Why did not you did "Stand and Deliver"? I was asked to do four songs, and then I think the big bands started showing interest – Queen, Bowie – and late in the day by Harvey Goldsmith The promoter said, "You're out of the show," luckily I was led by Miles Copeland, who ran Sting, who said, "If you do not put Adam, you do not. Do not have Sting. "So I received a
<p type =" text "content =" STEVE NORMAN: There was a kind of tension that day That's because we only had one. a time allotted, and if you went there a minute later, they cut you off, it was that simple, so I think everyone had the eye on it! 39; clock. "data-reactid =" 36 "> STEVE NORMAN: There was a kind of tension that day, because we only had a time allotment, and if you had a minute they were shooting at you It was that simple, so I think everyone had the eye on the clock.
= "text" content = " ADAM ANT: The main reason many people were cut off was when Bono jumped off the stage … Bob Geldof told us," Nobody is going any further if you do not stop, we will literally press a button and the scene will turn. " And Bono jumped out of the scene and played forever, so a lot Editor's Note: Due to Bono's unforeseen step jump, U2 actually cut the last song of their set, "Pride", ] "data-reactid =" 37 "> ADAM ANT: The main reason many people were cut off was when Bono jumped off stage … All told by Bob Geldof, "Nobody goes anymore; If you do not stop, we will literally press a button and the scene will turn. "And Bono jumped off the stage and played forever, so a lot of bands could not play [their full sets] …. Everybody was sticking to their time, except Bono! [) Note From the Editor: Because of Bono's unexpected step jump, U2 actually cut the last song of their set, "Pride", in order to stay on time. ]
<p type = "text" content = " MICHAEL OF THE BARS, POWER STATION (Philadelphia): Bill Graham was the master of ceremonies, the PT Barnum of the situation.It was a circular scene, so you had a group or an artist playing and when they have finished their three compulsory songs, the thing will turn and there will be another group ready to leave. "data-reactid =" 40 "> MICHAEL OF THE BARS, POWER STATION (Philadelphia): Bill Graham was the master of ceremonies, the PT Barnum of the situation.It was a circular scene So you had a band or an artist playing and when they finished their three compulsory songs, the thing turned and then there was another band that was ready to go.
<p type = "text" content = " JIM KERR, SIMPLE MINDS (Philadelphia): I think we had 13 minutes or something, 13 unfortunate minutes, but I remember very clearly: the legendary promoter Bill Graham came to look into fact extensively clear as to what would happen if we were playing just a minute, I would just say that it was very frank, but we thought: "It's cool! Bill Graham! "Because he was a legend aside, let's not forget we were just guys from Glasgow." data-reactid = "41"> JIM KERR, SIMPLE MINDS (Philadelphia): I think we had 13 minutes or something like that. Thirteen unlucky minutes? But I remember very well: the legendary promoter Bill Graham came to lean over and did extensively clear on what would happen if we played a minute more. I will simply say that he was very frank. But we thought: "It's cool! It's Bill Graham!" Because he was such a legend all by himself. You must remember, we were just a few guys from Glasgow
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – JOHN" OATES, HALL & OATES (Philadelphia): I guess if you had to identify a date that was the peak of Hall & Oates' 80s career, he made our own set first, and then we released Eddie Kendricks and David Ruffin, who are two of the leading Temptations singers, whom we had done "Live at the Apollo" a few months ago. Mick Jagger was working on solo projects outside the Stones, he wanted to do something, he did not have a band, he reached out to us. He came out, then he pulled out Tina Turner, so we were on stage for a long time, because we did three sets. "data-reactid =" 49 "> JOHN OATES, HALL & OATES (Philadelphia): I suppose if you were to identify a date that was the peak of Hall & Oates' 80s career, it would have been that day … We first made our own set, then we released Eddie Kendricks and David Ruffin, two of the main singers of the Temptations, we had done "Live at the Apollo" a few months We did a Medley Temptations and paid tribute to Temptations because of that, Mick Jagger was working on solo projects at the time outside the Stones, he wanted to do something. There was no group, so he joined us to be his back-up band, he went out, then he took Tina Turner out, so we had been on stage for a long time, because we basically did three series. 19659011] <p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm" t ype = "text" content = " MARTHA QUINN: Tina Turner canceled concerts and paid her own way to be there, why did she do that, she said because Mick asked him to do it! Help everyone, Hall & Oates to help Mick Jagger, Madonna to get on stage with the Thompson Twins and Nile Rodgers, the Beach Boys to support REO Speedwagon, it was just a kibbutz talent. data-reactid = "52"> MARTHA QUINN: Tina Turner canceled concerts and paid for her own way of being there. Why did she do that? She said because Mick asked her to! Everyone was there to help everyone. Hall & Oates helping Mick Jagger. Madonna arrives on stage with the Thompson Twins and Nile Rodgers. Beach Boys saving REO Speedwagon! It was just a kibbutz of talent
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm" type = "text" content = " JOHN OATES: One of the things I remember before the show itself, is when we did a rehearsal in New York at Studio Instrument Rentals on the soundstage, we rehearsed with Eddie and David, and Mick went into Mick Jagger's routine, but he was in a room with no one but us, he started running around the stage, flapping his wings like a chicken and doing the things of Mick Jagger's face.As if there were 100,000 people in the room, the room was empty, it was really great, he got into the game he did not contented to sing his songs like, "Hey, it's a rehearsal." No, he did everything, but of course, he did not tell us that he was going to tear Tina's skirt off later. ta-reactid = "57"> JOHN OATES: One of the things I remember before the show itself, is when we did a rehearsal in New York at Studio Instrument Rentals on the soundstage. We rehearsed with Eddie and David, then Mick came to review his stuff. He went into the whole routine of Mick Jagger, but it was in a room with nobody except us. He started running around the stage, flapping his wings like a chicken and doing Mick Jagger's facial things, as there were 100,000 people in the room. The room was empty. It was really amazing. He went in the full thing. He did not just sing his songs like, "Hey, it's a rehearsal. I'm just going to make my way through that. "No, he did everything, but of course, he did not tell us that he was going to tear Tina's skirt later." It was a pleasant surprise.
<p clbad = "canvas -atome canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm "type =" text "content =" MARTHA QUINN: This was the original malfunction of the wardrobe, when he tore off his skirt, but I badyzed this video, and I think it was very planned, it is worth noting that she did not had a lot of reaction. I think it was because it was in the world of rock'n'roll. roll, so people would say, "Oh, whatever." "data-reactid =" 58 "> MARTHA QUINN: It was the malfunction of the original cabinet, when he tore off his skirt. I badyzed these images, and I think it was very planned.It was interesting that he did not really react.I think it was because it was in the world of rock'n'roll & # 39; n & rsquo; roll, so people would say "Oh, whatever."
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em ) – sm "type =" text "content =" MICHAEL OF THE BARS: The highlights of Live Aid are not necessarily musical to me – it was Dylan who was poking his head at it. outside the trailer and see this iconoclastic group of groupies, who were just world-famous international rock stars. The irony of the things I've seen remains etched indelibly in my DNA – just see Dylan open the e trailer door t look at the fans who have come to be multiplatins, while gibing at him. "data-reactid =" 61 "> MICHAEL OF BARS: The highlights of Live Aid are not necessarily musical to me – it was Dylan poking his head in front of the trailer and seeing this iconoclastic group of groupies, who had just happened to be world-renowned international rock stars.The irony of what I saw remains indelibly imprinted in my DNA – I just see Dylan open the door of the trailer and watch fans who are multiplatins artists, while gouaillant him [1945-19002] <p clbad = "canvas-atom-canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm" type = "text" content = " JIM KERR: I remember people like David Lee Roth running like a crazy man, and then in a quiet place there would be a very elegant BB King, just a little picking quietly, it was really that kind of day. data-reactid = "62"> JIM KERR: I remember people like David Lee Roth running like crazy, and then in a quiet corner there was a very elegant BB King, just a kind to pick quietly. It was a lot that kind of day.
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm" type = "text" content = " ADAM ANT: There was no record company nor any business person behind the scenes, the only people behind the scenes were artists and the team, they did not even let the managers behind the scenes. a thing of beauty. "data-reactid =" 63 "> ADAM ANT: There were no people from record companies or business people behind the scenes; the only people behind the scenes were artists and the crew. That was it. They did not even let the managers behind the scenes. It was literally a thing of beauty.
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm" type = "text" content = " JOHN OATES: The backstage area was just a group of trailers that were hastily installed in a semicircle.Each trailer would have a piece of paper that had the name of the band.In fact, if you were playing, you had an hour before to be in your trailer, and then you had to leave the trailer for another artist to come in. They were constantly walking around taking, like, The name of Madonna and the name of Duran Duran [on the trailer door] removing the name of Neil Young and putting the name of Bob Dylan in play. It was crazy, the number of artists in a semicircle was just completely off the charts. data-reactid = "64" > JOHN OATES: The backstage area was just a group of trailers that were hastily set up in a semicircle. paper with the name of the group. There were not enough trailers to accommodate all the artists. In fact, if you played, you had an hour to be in your caravan, and then you had to leave the trailer for another artist to enter. They were constantly walking around, taking the name of Madonna and putting the name of Duran Duran until [on the trailer door]. Take the name of Neil Young and put the name of Bob Dylan. It was crazy. The amount of performers in a tiny semicircle was just absolutely out of the charts.
<p clbad = "web-atom canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm" type = "text" content = " THOMAS DOLBY (London): After the Bowie set, I followed her to the Royal Box, we sat behind Prince Charles and Lady Diana, she would join the performers on stage for the grand finale. well, "she says," I might be able to handle the national anthem. "" data-reactid = "65"> THOMAS DOLBY (London): After the Bowie set, I'm going to I followed up to the Royal Box. We sat behind Prince Charles and Lady Diana. Bowie asked Lady Di if she would join the artists on stage for the grand finale. "Well," she said, "I might be able to handle the national anthem."
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – ms" type = "text" content = " RICK SPRINGFIELD ( Philadelphia): My agent also had Eric Clapton at the same time, and said that Eric wanted to meet me, about to continue, so I blew him.I blew Eric Clapton Off? Yes, I'm an idiot. "Data-reactid =" 70 "> RICK SPRINGFIELD (Philadelphia): My agent also had Eric Clapton at the same time, and said that Eric wanted to meet me. But I was about to continue, so I blew it. I blew Eric Clapton ? Yes, I am an idiot
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm" type = "text" content = " JIM KERR: We arrived at the top of the stairs and stood with that famous smile and those dark glbades? Jack Nicholson ! "Data-reactid =" 71 "> ] JIM KERR: We arrived at the top of the stairs and stood with that famous smile and those dark glbades? Jack Nicholson !
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm" type = "text" content = " MARTHA QUINN: My main interaction, number one – it's such a small moment, but I remember it completely and I will cherish it forever – I was walking backstage and I saw Jack Nicholson. Done Terms of Endearment at that time, Jack Nicholson was GOD He was everything, he walks towards me and I feel at the top of the world because I'm on MTV at that time And I say, "Hey, Jack , it's Martha Quinn. "And he says," Yeah, I know who you are. "And I'm like," Oh my God. "Day made. It was crazy . "data-reactid =" 72 "> MARTHA QUINN: My main interaction, number one – it's such a small moment, but I remember it completely and I will cherish it for always – I was walking backstage and saw Jack Nicholson. He had just finished Terms of Engagement ; at that time, Jack Nicholson was GOD. He was everything. He walks towards me, and I feel at the top of the world because I'm on MTV at that time. And I say, "Hey, Jack, that's Martha Quinn." And he says, "Yes, I know who you are." And I'm like, "Oh my God." Day done. Life made.
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm" type = "text" content = " TOM BAILEY, THOMPSON TWINS ( Philadelphia): We were introduced by Bette Midler … "data-reactid =" 73 "> TOM BAILEY, THOMPSON TWINS (Philadelphia): We were introduced by Bette Midler …
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm" type = "text" content = " QUART DE MARTHA: There was a lot of super celebrity intro, like Jack Nicholson bringing Dylan on stage, but the best was probably Madonna de Bette's intro .. I'd like to know if Bette calls her "a woman who's raised by her bra straps, and who's been known to drop them sometimes, she's awesome, she looks a lot like a virgin she's Madonnnnaaaa ! "was written by her or someone else." data-reactid = "74"> MARTHA QUINN: There were many great celebrity intros, like Jack Nicholson bringing Dylan on stage, but the best was probably the intro of Madonna de Bette. I would like to know if Bette calls her "a woman who's raised by her bra straps, and who has been known to drop them from time to time, she is great, she looks very much like a virgin, she is Madonnnnaaaa ! "Was written by her or someone else." It was a genius
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm "type =" text "content =" JIM KERR: It was at the apogee of Sean Penn and Madonna, when at the time they were probably the biggest star couple in the world. Sean Penn was great because he came to our Winnebago and he could do this great Glasgow We were thinking of "How on earth can he do that? But he was working on a play written by a John Byrne [Scottish] so Sean was with him. accent, he was cool. "data-reactid =" 77 "> JIM KERR: It was at the height of Sean Penn and Madonna, while they were probably the biggest star couple Sean Penn was great because he came to our Winnebago and he could do that great Glasgow accent, and we thought, "How on earth can he do that?" But he was working on a piece written by John Byrne [Scottish] So Sean was with him, he really nailed the accent … he was cool
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm "type =" text "content =" MICHAEL OF BARS: I am a great admirer of balls and trust, and if there is a woman who represented that, it was Madonna, seeing her walk with courage and confidence before an international audience. , before she was Madonna as we look now, I thought it was unbelievable. [Queen’s] Freddie [Mercury] and Madonna were the top of this day. "data-reactid =" 78 "> MICHAEL OF BARS: I am a great admirer of balls and trust, and if there is a woman who represented that, it was Madonna: To see her walking with so much courage and confidence before an international audience, before she the Madonna we now consider, I found it incredible. [Queen’s] Freddie [Mercury] and Madonna were the top of this day
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm" type = "text" content = " MARTHA QUINN: The pinnacle of pinnacle climax, the most tippy-top summit of this day, was probably the performance of Queen, the peak of the rock bow & # 39; n roll & # 39; data-reactid = "81"> MARTHA QUINN: The pinnacle of pinnacle climax, the most tippy summit of the day, was probably Queen's performance. That's the top of the rock arc n roll
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em ) – sm "type =" text "content =" STEVE NORMAN : Queen just blew everyone up, Queen was right, they hit the nail on the head, it was a Celebrating Queen's songs, and of course it helped launch them again and put them up there as leaders in the pack, absolutely. "data-reactid =" 82 "> STEVE NORMAN : The queen has just blown up everyone. The Queen has understood. they hit the right nail on the head. It was a celebration of Queen's songs, and this of course helped to launch them again and place them up there as leaders in the pack, absolutely
<p clbad = "canvas-atom web-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm "type =" text "content =" ADAM ANT: The Queen was like, " This is how you make a concert stadium. "" data-reactid = "83"> ADAM ANT: The Queen was like, " C is how one makes a stage concert."
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm" type = "text" content = " ROB HALFORD, JUDAS PRIEST [19659020] (Philadelphia): It was a pleasure to watch and meet some of the amazing talents of this day. At its heart, Live Aid showed the world that all kinds of music can come together in harmony and attract attention and help those who need it Not only Live Aid for an extremely important cause, but it also gave us the chance to represent British heavy metal. "data-reactid =" 86 "> ROB HALFORD, JUDAS PRIEST (Philadelphia): It was a pleasure to watch and meet some of the incredible talents that day. At its heart, Live Aid has shown the world that all kinds of music can unite in harmony and attract attention and help on those who need it. And not only Live Aid for an extremely important cause, but it also gave us the chance to represent British heavy metal.
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm" type = "text" content = " MICHAEL OF BARS: I told Ozzy Osbourne behind the scenes: "Is not it great, man, what are they doing for Ethiopia?" And he said, "What is it, a restaurant? "So intentions were mixed for some people." data-reactid = "87"> MICHAEL OF BARS: I told Ozzy Osbourne backstage: "Is not it great, man, that's they do for Ethiopia? " And he said, "What is it, a restaurant?" So the intentions were mixed for some people.
<p clbad = "canvas-atom canvas-text Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm" type = "text" content = " ADAM ANT: It was a sort of centralized namedrop Gilmour, Pink Floyd … Freddie Mercury, I remember backstage, there was a locker room behind the scenes where the band was getting ready, very minimal It was really extraordinary, Egos était par la fenêtre, il me semblait que les artistes, sans l'industrie de la musique qui les entourait, ne sont que des habitués. imaginé que tu parlerais avec, parce que tu fais tous la même chose. data-reactid = "90"> ADAM ANT: C'était une sorte de namedrop central. Gilmour, Pink Floyd … Freddie Mercury, je me souviens des coulisses; il y avait un vestiaire dans les coulisses où le groupe se préparait, très minime, un vestiaire, pas de pendaison. C'était badez extraordinaire. Egos étaient par la fenêtre. Il m'a semblé que les artistes sont partis avec e ux-mêmes, sans l'industrie de la musique autour d'eux, ne sont que des gars réguliers. Vous êtes badis à parler à des gens avec lesquels vous n'auriez jamais imaginé parler, parce que vous faites tous la même chose.
<p clbad = "toile-atome toile-texte Mb (1.0em) Mb (0) – sm Mt (0.8em) – sm "type =" text "content =" JOHN OATES: Je me souviens qu'il y avait une grande fête à l'hôtel, à peu près tout le monde séjournait au Four Seasons de Philadelphie. Ce soir-là, au bar de l'hôtel, c'était ridicule … Partout où vous avez tourné, il y avait une sorte de groupe, d'artiste ou de superstar, tout le monde était là et tout le monde traînait. Il fallait que nous fbadions des choses comme ça, parce que nous étions tous au même endroit en même temps, ce qui était très rare. data-reactid = "91"> JOHN OATES: Je me souviens d'une grande fête à l'hôtel. Presque tout le monde séjournait au Four Seasons à Philadelphie juste après le spectacle. Cette nuit-là au bar de l'hôtel, c'était ridicule. Partout où vous avez tourné, il y avait une sorte de groupe, d'artiste ou de superstar. Tout le monde était là et tout le monde traînait. C'était l'une des rares fois où les gens faisaient des choses comme ça, parce que nous étions tous au même endroit en même temps, ce qui était très rare.
<p clbad = "toile-atome toile-texte Mb (1.0em) Mo (0) – sm Mt (0.8em) – sm" type = "texte" content = "[19459005JIMKERR: Je me souviens d'être retourné à l'hôtel et il y avait beaucoup de bars à l'étage, et je me souviens de Dylan, de Ron Wood et de tous ces gens. Je me souvenais de les avoir regardés et je me disais qu'ils en avaient peut-être un ou deux de trop – même selon leurs critères! data-reactid = "92"> JIM KERR: Je me souviens d'être retourné à l'hôtel et il y avait beaucoup de choses à l'étage. Ils avaient une sorte de sky bar dans l'hôtel, et je me souviens que Dylan était là et Ron Wood et tous ces gens, et ils commençaient, comment dirais-je, un peu lubrifiés avant de continuer. Je me souviens de les avoir regardés et pensant qu'ils en avaient peut-être un ou deux de trop – même selon leurs critères!
<p clbad = "toile-atome toile-texte Mb (1.0em) Mb (0) – sm M t ( 0.8em) – sm "type =" text "content =" STEVE NORMAN: Je pense que j'étais badez saoul ce jour-là, pour être honnête. " data-reactid = "93"> STEVE NORMAN: Je pense que j'étais badez ivre ce jour-là, pour être honnête.
<p clbad = "toile-atome toile-texte Mb (1.0em) Mb (0)–sm Mt(0.8em)–sm" type="text" content="JOHN TAYLOR: How could something so celebratory be so f—ing useful? It can only be down to the genius of Mr. Bob Geldof, who had such a taste for both high and low that he was able to bring together such an exotic mix of talents, who all put aside their respective egos long enough to make a dent in the political map and relight the fire for activism in what had become a rather hedonistic and narcissistic industry. Having said that, I rather miss it." data-reactid="94">JOHN TAYLOR: How could something so celebratory be so f—ing useful? It can only be down to the genius of Mr. Bob Geldof, who had such a taste for both high and low that he was able to bring together such an exotic mix of talents, who all put aside their respective egos long enough to make a dent in the political map and relight the fire for activism in what had become a rather hedonistic and narcissistic industry. Having said that, I rather miss it.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="MARTHA QUINN: Bob Geldof single-handedly changed the entire decade of the ’80s. He transformed us from the “Me” Decade to the “We Care” Decade. Farm Aid, Sun City, Amnesty International… these all happened in the ’80s. One thing that always bugs me is when people call the ’80s the decade of greed, because it’s so not true. This was the decade of the most philanthropy I think we’ve ever seen! In the ’80s, giving was the new black." data-reactid="95">MARTHA QUINN: Bob Geldof single-handedly changed the entire decade of the ’80s. He transformed us from the “Me” Decade to the “We Care” Decade. Farm Aid, Sun City, Amnesty International… these all happened in the ’80s. One thing that always bugs me is when people call the ’80s the decade of greed, because it’s so not true. This was the decade of the most philanthropy I think we’ve ever seen! In the ’80s, giving was the new black.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="STEVE NORMAN: Let’s not forget the importance of Midge Ure’s contribution. He tends to get overlooked, but not only did he help co-write [“Do They Know It’s Christmas?”]but he’s very important in driving it forward and being there earlier on, especially with Band Aid." data-reactid="96">STEVE NORMAN: Let’s not forget the importance of Midge Ure’s contribution. He tends to get overlooked, but not only did he help co-write [“Do They Know It’s Christmas?”]but he’s very important in driving it forward and being there earlier on, especially with Band Aid.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="ADAM ANT: Midge Ure sometimes gets thrown into the background, but he must not be forgotten. Midge wrote that song. He was kind of a silent partner." data-reactid="97">ADAM ANT: Midge Ure sometimes gets thrown into the background, but he must not be forgotten. Midge wrote that song. He was kind of a silent partner.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="MIDGE URE, ULTRAVOX (London): I think if you look at the footage at the end of Live Aid, you see everyone pushing forward for the microphone, singing [“Do They Know It’s Christmas?”]and I’m kind of edging my way backwards into the crowd. I just do not want to be seen to be riding on the coattails of something that was done for very, very different reasons, you know?" data-reactid="98">MIDGE URE, ULTRAVOX (London): I think if you look at the footage at the end of Live Aid, you see everyone pushing forward for the microphone, singing [“Do They Know It’s Christmas?”]and I’m kind of edging my way backwards into the crowd. I just do not want to be seen to be riding on the coattails of something that was done for very, very different reasons, you know?
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="MICHAEL DES BARRES: To be in a band [Power Station] with [Duran Duran’s] John and Andy Taylor, it was interesting to see these two young’uns at the peak of Duran’s fame almost tipping. It was a fascination to see it through their eyes. I could feel what they were feeling. It’s a very difficult thing to put into words… it was people who were reflective, insecure, overly hyped." data-reactid="101">MICHAEL DES BARRES: To be in a band [Power Station] with [Duran Duran’s] John and Andy Taylor, it was interesting to see these two young’uns at the peak of Duran’s fame almost tipping. It was a fascination to see it through their eyes. I could feel what they were feeling. It’s a very difficult thing to put into words… it was people who were reflective, insecure, overly hyped.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="MARTHA QUINN: Duran Duran was kind of our One Direction. They were everything to us! We thought to be in Duran Duran must be the greatest thing ever! But now we know that they drove to JFK Stadium in total silence — angry, weird, uncomfortable silence. Andy and Roger Taylor left [the group] after that. That original lineup didn’t play together again until the next millennium." data-reactid="102">MARTHA QUINN: Duran Duran was kind of our One Direction. They were everything to us! We thought to be in Duran Duran must be the greatest thing ever! But now we know that they drove to JFK Stadium in total silence — angry, weird, uncomfortable silence. Andy and Roger Taylor left [the group] after that. That original lineup didn’t play together again until the next millennium.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="MICHAEL DES BARRES: The thing is about that that I found the most interesting is that you had all of these very nervous icons all in one place, so there was an energy there that was so unfamiliar, because you’re used to seeing the posturing and the posing and the narcissism of these guys. But when they’re all together under this unbelievable umbrella of this multibillion-people audience, there was so much nervousness going on. If I saw one person writing the words on the palm of his hand… I saw 20 iconic rock ‘n’ roll stars, boys and girls, writing lyrics, adjusting their bracelets, pulling the zips up on their leather jackets, and in Dylan and Woody’s [Ron Wood’s] case, playing three different songs at once when they got up there." data-reactid="105">MICHAEL DES BARRES: The thing is about that that I found the most interesting is that you had all of these very nervous icons all in one place, so there was an energy there that was so unfamiliar, because you’re used to seeing the posturing and the posing and the narcissism of these guys. But when they’re all together under this unbelievable umbrella of this multibillion-people audience, there was so much nervousness going on. If I saw one person writing the words on the palm of his hand… I saw 20 iconic rock ‘n’ roll stars, boys and girls, writing lyrics, adjusting their bracelets, pulling the zips up on their leather jacket s, and in Dylan and Woody’s [Ron Wood’s] case, playing three different songs at once when they got up there.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="ADAM ANT: Elvis Costello wrote the lyrics to a Beatles song on his hand, I remember that." data-reactid="106">ADAM ANT: Elvis Costello wrote the lyrics to a Beatles song on his hand, I remember that.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="TOM BAILEY: The curtain went up and I had an enormous way to get to the microphone stand, and I knew that I had 32 bars to do it. Halfway there, I discovered that the guitar cable wasn’t long enough for me to get to the mic stand, so I had to make one of those decisions. And of course I had to sing, so I just unplugged the guitar and went forward and did that song without a guitar. I think I was playing it, but it wasn’t going anywhere!" data-reactid="109">TOM BAILEY: The curtain went up and I had an enormous way to get to the microphone stand, and I knew that I had 32 bars to do it. Halfway there, I discovered that the guitar cable wasn’t long enough for me to get to the mic stand, so I had to make one of those decisions. And of course I had to sing, so I just unplugged the guitar and went forward and did that song without a guitar. I think I was playing it, but it wasn’t going anywhere!
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="JIM KERR: For probably 80 to 90 percent of the time I was onstage, I was thinking, “Holy f—, that’s Jack Nicholson,” so I don’t really have much recollection of our set… I was probably happy to get out of [then-wife] Chrissie [Hynde’s] way for a quarter of an hour!" data-reactid="112">JIM KERR: For probab ly 80 to 90 percent of the time I was onstage, I was thinking, “Holy f—, that’s Jack Nicholson,” so I don’t really have much recollection of our set… I was probably happy to get out of [then-wife] Chrissie [Hynde’s] way for a quarter of an hour!
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="ADAM ANT: I remember doing a really high jump and nearly killing myself when I landed. But I pulled it off." data-reactid="113">ADAM ANT: I remember doing a really high jump and nearly killing myself when I landed. But I pulled it off.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="JIM KERR: When I watch it now, two things come to my head instantly: “Wow, there’s Jack,” and the other one is “Oh God, wrong trousers.” I wore these trousers, the kind of trousers someone who’s gone yachting in Cape Cod would wear. I could feel them flapping like sailboats. I don’t know what I was thinking, but they were not outdoor onstage trousers. I just thought, “Jim Morrison wouldn’t wear these; this is not good.” Any time I see a picture from Live Aid, there’s a voice in my head that’s saying, “Wrong trousers.” They were like Dumbo’s ears." data-reactid="114">JIM KERR: When I watch it now, two things come to my head instantly: “Wow, there’s Jack,” and the other one is “Oh God, wrong trousers.” I wore these trousers, the kind of trousers someone who’s gone yachting in Cape Cod would wear. I could feel them flapping like sailboats. I don’t know what I was thinking, but they were not outdoor onstage trousers. I just thought, “Jim Morrison wouldn’t wear these; this is not good.” Any time I see a picture from Live Aid, there’s a voice in my head that’s saying, “Wrong trousers.” They were like Dumbo’s ears.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="STEVE NORMAN: If I look back at it now and see the performance, there’s four tunes and we just have bloody blank looks on our faces the whole time. I think we were terrified. The only thing I can remember of the time was jumping off the stage to run to the front and play the sax solo, and the rest kind of went by in a flash… I look at my performance and I can sense that I’m actually almost not there, you know?" data-reactid="117">STEVE NORMAN: If I look back at it now and see the performance, there’s four tunes and we just have bloody blank looks on our faces the whole time. I think we were terrified. The only thing I can remember of the time was jumping off the stage to run to the front and play the sax solo, and the rest kind of went by in a flash… I look at my performance and I can sense that I’m actually almost not there, you know?
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="TOM BAILEY: It was a frightening thing to take on. It was an enormous live audience and unbelievably enormous TV audience, and that could make you feel pretty nervous, knowing there was several million people watching." data-reactid="120">TOM BAILEY: It was a frightening thing to take on. It was an enormous live audience and unbelievably enormous TV audience, and that could make you feel pretty nervous, knowing there was several million people watching.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="JOHN OATES: In this day and age when media is all-pervasive and so global, a younger generation perhaps doesn’t realize this was the first concert that was actually simulcast around the world. In this day of the Internet when you can access anything around the world at any moment, it probably seems kind of insignificant. But you don’t realize how big of a deal it was back then. It was like going from the horse-and-carriage to the automobile or something." data-reactid="121">JOHN OATES: In this day and age when media is all-pervasive and so global, a younger generation perhaps doesn’t realize this was the first concert that was actually simulcast around the world. In this day of the Internet when you can access anything around the world at any moment, it probably seems kind of insignificant. But you don’t realize how big of a deal it was back then. It was like going from the horse-and-carriage to the automobile or something.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="JIM KERR: We were aware at the time that it was the biggest televised audience for anything in the world — bigger than the moon landing, technology had changed so much." data-reactid="122">JIM KERR: We were aware at the time that it was the biggest televised audience for anythi ng in the world — bigger than the moon landing, technology had changed so much.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="MARTHA QUINN: But honestly, [Duran Duran singer Simon Le Bon’s voice crack in front of millions of people] wasn’t even that bad. It’s now become famous because they have talked about it a lot, but if they had just zipped their mouths about that, I don’t think anybody would have ever noticed." data-reactid="123">MARTHA QUINN: But honestly, [Duran Duran singer Simon Le Bon’s voice crack in front of millions of people] wasn’t even that bad. It’s now become famous because they have talked about it a lot, but if they had just zipped their mouths about that, I don’t think anybody would have ever noticed.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="RICK SPRINGFIELD: It was a pretty surreal day. Everyone was thinking the world would change because of the incredible degree of commitment from so many for one cause. It didn’t change anything. Music only reflects social change; it doesn’t cause it. The problems in Africa have only multiplied a thousandfold. But it was a brave and noble try." data-reactid="126">RICK SPRINGFIELD: It was a pretty surreal day. Everyone was thinking the world would change because of the incredible degree of commitment from so many for one cause. It didn’t change anything. Music only reflects social change; it doesn’t cause it. The problems in Africa have only multiplied a thousandfold. But it was a brave and noble try.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="ADAM ANT: Politics aside, the actual day itself was wonderful and it was a wonderful gesture; I think it became a promotional thing and just a bit of a mess, but I think at that time it was something that was really from the right place. Everybody did it from the heart." data-reactid="127">ADAM ANT: Politics aside, the actual day itself was wonderful and it was a wonderful gesture; I think it became a promotional thing and just a bit of a mess, but I think at that time it was something that was really from the right place. Everybody did it from the heart.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="MICHAEL DES BARRES: This Irish punk, Bobby Geldof, created this because he saw a documentary that infuriated him, and it began the idea that rock ‘n’ roll stars could do something, that they could actually mean something. There was power there, and I think that that was probably the most important part of that event — because God knows what happened to the money. It was a more innocent time. And a more stoned time." data-reactid="128">MICHAEL DES BARRES: This Irish punk, Bobby Geldof, created this because he saw a documentary that infuriated him, and it began the idea that rock ‘n’ roll stars could do something, that they could actually mean something. There was power there, and I think that that was probably the most important part of that event — because God knows what happened to the money. It was a more innocent time. And a more stoned time.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="JOHN OATES: It definitely was a more innocent time. The ’80s were an era of what seemed to be endless possibility. It was like, the go-go ’80s, you know? And it filtered down through all aspects of society. Like Wall Street, people were making scads of money. Excess was everywhere. It seemed like the horizon was limitless. It just had that feeling to it. It was in between wars. It really had this euphoric kind of feeling. I think everyone’s heart and intention was in the right the place with “We Are the World” and things like Live Aid. It was a nice attempt for the entertainment world and musicians in general to try to do something on a greater scale. There’s nothing you can criticize about that. I would agree now, when you see the fact that Africa and so many places in the world are still in the state that they’re in, it really wa s only a Band-Aid on a wound that is very hard to heal. I think people are more realistic now. People have more ability to access information. In those days, you just didn’t know; you felt if you raised some money and you could do something good, then good things would happen. It wasn’t that good things didn’t happen, it just that it wasn’t enough." data-reactid="129">JOHN OATES: It definitely was a more innocent time. The ’80s were an era of what seemed to be endless possibility. It was like, the go-go ’80s, you know? And it filtered down through all aspects of society. Like Wall Street, people were making scads of money. Excess was everywhere. It seemed like the horizon was limitless. It just had that feeling to it. It was in between wars. It really had this euphoric kind of feeling. I think everyone’s heart and intention was in the right the place with “We Are the World” and things like Live Aid. It was a nice attempt for the entertainment world and musicians in general to try to do something on a greater scale. There’s nothing you can criticize about that. I would agree now, when you see the fact that Africa and so many places in the world are still in the state that they’re in, it really was only a Band-Aid on a w ound that is very hard to heal. I think people are more realistic now. People have more ability to access information. In those days, you just didn’t know; you felt if you raised some money and you could do something good, then good things would happen. It wasn’t that good things didn’t happen, it just that it wasn’t enough.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="ADAM ANT: I would have suggested that the U.N. take the money in. I think a lot of the food got to the borders and got taken by the army. And the actual government itself in the problem areas said it did cause a lot of trouble, because a lot of people moved to centers to try and get to the food, and it wasn’t there; it had been stolen by the army. It’s been quite sad, very sad. But I think on the day itself, the energy was there." data-reactid="130">ADAM ANT: I would have suggested that the U.N. take the money in. I think a lot of the food got to the borders and got taken by the army. And the actual government itself in the problem areas said it did cause a lot of trouble, because a lot of people moved to centers to try and get to the food, and it wasn’t there; it had been stolen by the army. It’s been quite sad, very sad. But I think on the day itself, the energy was there.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="MIDGE URE: I can tell you off the top of my head that between Band Aid and Live Aid, I think it generated somewhere in the region of $190 million. So it generated a substantial amount of money; I think the record initially raised something like 7 million pounds." data-reactid="131">MIDGE URE: I can tell you off the top of my head that between Band Aid and Live Aid, I think it generated somewhere in the region of $190 million. So it generated a substantial amount of money; I think the record initially raised something like 7 million pounds.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="JOHN OATES: To me, you can’t worry about how much money was raised. What’s [the] more important question is, “How much money actually got to where it was needed to go?” That’s the real question. That’s the question everyone should ask any time they get involved with a charity or a benefit type of event. How much of the funds are being siphoned off on the bureaucratic side of the organization or the event? How much filters out to where it’s supposed to go?" data-reactid="132">JOHN OATES: To me, you can’t worry about how much money was raised. What’s [the] more important question is, “How much money actually got to where it was needed to go?” That’s the real question. That’s the question everyone should ask any time they get involved with a charity or a benefit type of event. How much of the funds are being siphoned off on the bureaucratic side of the organization or the event? How much filters out to where it’s supposed to go?
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="MARTHA QUINN: Where the money is going — that is a totally valid question. I support that question. But does that mean we shouldn’t try? I love that our gut reaction to suffering is to help. The vibe at Live Aid was so positive. Everyone donated their time and paid their own expenses. Philadelphia gave JFK Stadium for free! It was not only a dizzying array of talent, but everything good about humanity." data-reactid="133">MARTHA QUINN: Where the money is going — that is a totally valid question. I support that question. But does that mean we shouldn’t try? I love that our gut reaction to suffering is to help. The vibe at Live Aid was so positive. Everyone donated their time and paid their own expenses. Philadelphia gave JFK Stadium for free! It was not only a dizzying array of talent, but everything good about humanity.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="GLENN TIPTON, JUDAS PRIEST (Philadelphia): To be amongst so many respected and talented artists who were all fighting the same cause was an incredible feeling and one that will live with me for the rest of my life. When everyone joined together onstage and sang “We Are the World,” it was one of the most emotional moments I can recall. And knowing that music, even heavy metal, played its part was a wonderful feeling." data-reactid="134">GLENN TIPTON, JUDAS PRIEST (Philadelphia): To be amongst so many respected and talented artists who were all fighting the same cause was an incredible feeling and one that will live with me for the rest of my life. When everyone joined together onstage and sang “We Are the World,” it was one of the most emotional moments I can recall. And knowing that music, even heavy metal, played its part was a wonderful feeling.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="MIDGE URE: Here we are nearly 30 years later, and [“Do They Know It’s Christmas?”] is still played on the radio; the song royalties go directly to the Band Aid trust and go directly to Africa." data-reactid="137">MIDGE URE: Here we are nearly 30 years later, and [“Do They Know It’s Christmas?”] is still played on the radio; the song royalties go directly to the Band Aid trust and go directly to Africa.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="HOWARD JONES (London): Live Aid was the highlight event of the ’80s. It brought together music artists and a global audience, for a great cause. It was proof that one person’s outrage could be transformed into something that brought the world together and could save thousands of people’s lives. It was a privilege to be part of it. I hope that with this 30th anniversary, it is remembered as a benchmark for global activism and compbadion." data-reactid="138">HOWARD JONES (London): Live Aid was the highlight event of the ’80s. It brought together music artists and a global audience, for a great cause. It was proof that one person’s outrage could be transformed into something that brought the world together and could save thousands of people’s lives. It was a privilege to be part of it. I hope that with this 30th anniversary, it is remembered as a benchmark for global activism and compbadion.
<p clbad="canvas-atom canvas-text Mb(1.0em) Mb(0)–sm Mt(0.8em)–sm" type="text" content="STEVE NORMAN: It seems so weird it was [more than] 30 years ago. Good grief." data-reactid="139">STEVE NORMAN: It seems so weird it was [more than] 30 years ago. Good grief.
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