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We Are The World: The Video Event (1985) - USA For Africa


    Featuring »

Harry Belafonte, Elwood Blues (Dan Aykroyd), Lindsey Buckingham, Kim Carnes, Ray Charles (Robinson), Mario Cipollina, John(ny) Colla, Bob Dylan (Robert Allen Zimmerman), Sheila E(scovedo), Bob Geldof, Bill Gibson, Daryl Hall, Chris Hayes, Sean Hopper, James Ingram, Tito (Toriano) Jackson, La Toya Jackson, Randy (Steven Randall) Jackson, Jackie (Sigmund Esco) Jackson, Michael Jackson, Marlon Jackson, Al Jarreau, Waylon Jennings, Billy Joel, Cyndi Lauper, Huey Lewis (Hugh Anthony Cregg III), Ken(ny) Loggins, Bette Midler, Willie (Hugh) Nelson, John Oates, Jeffrey Osborne, Steve Perry, Ruth Pointer, Anita Pointer, Lionel Richie, Smokey (William) Robinson, Kenny Rogers, Diana Ross, Paul (Frederic) Simon, Bruce Springsteen, Tina Turner (Anna Mae Bullock), USA For Africa, Dionne Warwick, Stevie Wonder

    Tracklisting »
From The Story Behind The Song:
Day-O (The Banana Boat Song)
  Date Performance: 1985-01-28, Running Time: 2:36
  Comments: by USA For Africa
We Are The WorldLyrics available
  Date Performance: 1985-01-28, Running Time: 7:04
  Comments: by USA For Africa. Mastered at Bernie Grundman Mastering. Chart: Billboard US Hot 100 Singles Peak Position: 1 Peak Dates: Apr 13, 1985 - Apr 20, 1985 - Apr 27, 1985 - May 4, 1985 Weeks On Charts: 18 Chart: Billboard UK Top 50/40 Singles Peak Position: 1 Peak Dates: Apr 27, 1985 & May 4, 1985 Weeks On Charts: 7 (P) 1985 United Support of Artists for Africa
From One Song, Many Hands:
Are You Sure
  Date Performance: 1965, Running Time: 1:01
  Comments: (Edit) Performed by The Staple Singers (courtesy of Columbia Records by arrangement with Sony Music Licensing)
Sela
  Date Performance: 1986
  Comments: by Lionel Richie (courtesy of Motown Records L.P.)
Yes We Can Can
  Date Performance: 1973, Running Time: 2:10
  Comments: (Edit) Performed by The Pointer Sisters (courtesy of MCA Records)
Kiss
  Date Performance: 1986, Running Time: 0:12
  Comments: (Edit) Performed by Prince And The Revolution
We Are The WorldLyrics available
  Date Performance: 1985-01-28, Running Time: 7:04
  Comments: by USA For Africa. Mastered at Bernie Grundman Mastering. Chart: Billboard US Hot 100 Singles Peak Position: 1 Peak Dates: Apr 13, 1985 - Apr 20, 1985 - Apr 27, 1985 - May 4, 1985 Weeks On Charts: 18 Chart: Billboard UK Top 50/40 Singles Peak Position: 1 Peak Dates: Apr 27, 1985 & May 4, 1985 Weeks On Charts: 7 (P) 1985 United Support of Artists for Africa
Hands Across America
  Date Performance: 1986, Running Time: 2:37
  Comments: by Look And Company
Day-O (The Banana Boat Song)
  Date Performance: 1985-01-28, Running Time: 0:32
  Comments: (Edit) by USA For Africa
Africa Burning In The Sun
  Date Performance: 1988, Running Time: 2:12
  Comments: Performed by Sarafina Original Cast (courtesy of Shanachie Entertainment Corp.)
    Guest Appearances »

Tom Bahler, John Barnes, Harry Belafonte, Michael/Mike Boddicker, Christie Brinkley, Larry Brown, M.D., Joe Cerisano, Paulinho Da Costa, Marcel East, Sandy Farina, Jane Fonda, Willie Fulton, Humberto Gatica, Khaliq Glover, Lloyd Greig, M.D., Louis Johnson, Quincy (Delight) Jones(, Jr.), Ken Kragen, Look And Company, Steve Lukather, Steve Lukather, Lemmy (Special) Mabaso, Eddie Mathiba, Master (Amos) Mathiba, Ron McClure, Michael Melvoin, Scott Miller, Douglas Mnisi, Makate Peter Mofolo, Ray Molefe, Bruce Mwandla, Mazide N'Diaye, Mbongeni Ngema, Smanga Nhlebela, Julius Nyerere, Michael Omartian, Tina Osso, David/Dave (Baby) Paich, David/Dave (Baby) Paich, Elaine Phillinganes, Greg Phillinganes, Karla Phillinganes, Anita Pointer, Bonnie Pointer, Ruth Pointer, June Pointer-Whitmore, Steve Porcaro, Jeff(rey) Porcaro, Michael/Mike Porcaro, Michael/Mike Porcaro, Jeff(rey) Porcaro, Prince & The Revolution, Prince (Rogers Nelson), Steve Ray, Lionel Richie, J(ohn) (R.) (Frederick) Robinson, Kenny Rogers, Martin Rogol, Mark Ross, Marcus Ryles, Tom Salisbury, Sarafina Original Cast, Mavis Staples, Pervis Staples, Yvonne Staples, Roebuck (Pops) Staples, The Pointer Sisters, The Staple Singers, Toto, Ian Underwood, Cathy Worthington

    Released »

1985

    Format »

VHS/DVD

    Other Appearances »
David Rubinson (Producer), William Attaway (Songwriter), Marc Blatte (Songwriter), Irving Burgie (Songwriter), Ike Cargill (Songwriter), John Carney (Songwriter), Larry Gottlieb (Songwriter), Michael Jackson (Songwriter), Michael Jackson (Songwriter), Hugh Masekela (Songwriter), Greg Phillinganes (Songwriter), Prince (Rogers Nelson) (Songwriter), Prince (Rogers Nelson) (Songwriter), Lionel Richie (Songwriter), Lionel Richie (Songwriter), Allen (Tousan) Toussaint (Naomi Neville) (Songwriter), Steve Ray (Production Assistant), Mark Ross (Production Assistant), Pam Small (Production Assistant), David Breskin (Liner Notes), Tom Bahler (Associate Producer), Aaron Brownstein (Production Coordinator), Jolie Jones Levine(-Aller) (Production Coordinator), David Rubinson (Arranger), Quincy (Delight) Jones(, Jr.) (Produced By), Humberto Gatica (Engineered By), John Guess (Engineered By), Humberto Gatica (Mixed By), Bernie Grundman(n) (Mastered By), Quincy (Delight) Jones(, Jr.) (Conducted By), John Barnes (Synthesizer Arrangements), Michael/Mike Boddicker (Synthesizer Arrangements), Quincy (Delight) Jones(, Jr.) (Synthesizer Arrangements), Michael Omartian (Synthesizer Arrangements), David/Dave (Baby) Paich (Synthesizer Arrangements), Ian Underwood (Synthesizer Arrangements), Larry Fergus(s)on (Mixing Assisted By), Khaliq Glover (Mixing Assisted By), Paul Brownstein Productions (Distributed By), Kevin Maloney (Synclavier Programming), Mark Ross (Synclavier Programming), John Barnes (Synthesizer Programming), Michael/Mike Boddicker (Synthesizer Programming), Steve Porcaro (Synthesizer Programming), Tom Brown (Copyist), Doug Dana (Copyist), John Barnes (Rhythm Arrangements), Quincy (Delight) Jones(, Jr.) (Rhythm Arrangements), Henry Diltz (Photo), Sam Emerson (Photo), Paul Brownstein (DVD Produced By), Ken Kragen (DVD Executive Producer), David Bowers (Roadie), Claudio Ordenes (Roadie), Ed Simeone (Roadie), Paul Brownstein (DVD Producer), Tom Bahler (Vocal Choir Arrangements), Michael Jackson (Vocal Choir Arrangements), Michael Jackson (Vocal Choir Arrangements), Quincy (Delight) Jones(, Jr.) (Vocal Choir Arrangements), Tom Bahler (Solo Vocal Choreography), Quincy (Delight) Jones(, Jr.) (Solo Vocal Choreography), Madeline Randolph (Executive Production Assistant), Marcus Ryles (Oberheim-8 Programming), Image Entertainment, Inc. (DVD Package Design), Bob Bernstein (Online Editor), Tom Meleck (Set Designer), 3rd Sector Entertainment (DVD Menus), Scott Billups (DVD Menus), Eva Campos (DVD Menus), Renee Clark (DVD Menus), Timothy Curt (DVD Menus), Paul Daruthayan (DVD Menus), John Hartman (DVD Menus), It's A Secret Studios (DVD Menus), Michael Soderberg (DVD Menus), Jim Thomas (DVD Menus), 3rd Sector Entertainment (DVD 5.1 Mixing), Scott Billups (DVD 5.1 Mixing), Eva Campos (DVD 5.1 Mixing), Renee Clark (DVD 5.1 Mixing), Timothy Curt (DVD 5.1 Mixing), Paul Daruthayan (DVD 5.1 Mixing), John Hartman (DVD 5.1 Mixing), It's A Secret Studios (DVD 5.1 Mixing), Michael Soderberg (DVD 5.1 Mixing), Jim Thomas (DVD 5.1 Mixing), 3rd Sector Entertainment (DVD Production Services Donated By), Scott Billups (DVD Production Services Donated By), Eva Campos (DVD Production Services Donated By), Renee Clark (DVD Production Services Donated By), Timothy Curt (DVD Production Services Donated By), Paul Daruthayan (DVD Production Services Donated By), John Hartman (DVD Production Services Donated By), It's A Secret Studios (DVD Production Services Donated By), Michael Soderberg (DVD Production Services Donated By), Jim Thomas (DVD Production Services Donated By), AC/DC Lighting (Lighting (Story Behind The Song)), Cine-Pro (Lighting (Story Behind The Song)), Expendable Supply Store (Lighting (Story Behind The Song)), Mole-Richardson Company Of Hollywood (Lighting (Story Behind The Song)), Olesen (Lighting (Story Behind The Song)), The Klages Group (Lighting (Story Behind The Song)), Ultravision (Lighting (Story Behind The Song)), Gabriel Schroer (Digital Logo Enhancements By), Alan Wells (Digital Logo Enhancements By), AME, Inc. (Duplicating (Story Behind The Song)), April Lee Grebb (Post Production Supervisor (SBTS)), Audio Services Corp. (Technical Equipment (SBTS)), Background Engineers (Technical Equipment (SBTS)), Burns Audio (Technical Equipment (SBTS)), Roll(ing) Sound (Services) (Technical Equipment (SBTS)), Tritronics (Technical Equipment (SBTS)), Wexler Video (Technical Equipment (SBTS)), B(ritish) B(roadcasting) C(orporation) Television (Archival Footage (One Song Many Hands)), Camerapix (Archival Footage (One Song Many Hands)), Gold West Television (Archival Footage (One Song Many Hands)), KODA (Rogers, Arkansas) (Archival Footage (One Song Many Hands)), N(ational) B(roadcasting) C(ompany) News (Archival Footage (One Song Many Hands)), Save The Children Federation (Archival Footage (One Song Many Hands)), Sherman Grinberg Film Libraries (Archival Footage (One Song Many Hands)), WCMH (Columbus, Ohio) (Archival Footage (One Song Many Hands)), WFFA (Dallas, Texas) (Archival Footage (One Song Many Hands)), WICS (Springfield, Illinois) (Archival Footage (One Song Many Hands)), WISH (Indianapolis, Indiana) (Archival Footage (One Song Many Hands)), WMC (Memphis, Tennessee) (Archival Footage (One Song Many Hands)), World Vision (Archival Footage (One Song Many Hands)), Bruce Golin (Production Associate (SBTS)), Diane Gordon (Production Associate (SBTS)), John Jenkins (Production Associate (SBTS)), Tony Marienthal (Production Associate (SBTS)), Mary Jo Minella (Production Associate (SBTS)), Lori Nivette (Production Associate (SBTS)), Cheryl Pappas (Production Associate (SBTS)), Bill Prestwidge (Production Associate (SBTS)), Barry Schwartz (Production Associate (SBTS)), Bexel Corp. (Technical Facilities (SBTS)), Greene, Crow(e) & Co(mpany) (Technical Facilities (SBTS)), Palacio Video Engineering (Technical Facilities (SBTS)), Video One, Inc. (Technical Facilities (SBTS)), Bob/Robert A. Dickenson/Dickinson (Lighting Director (SBTS)), Bob Kaufman (Videotape (Story Behind The Song)), Tom Kyle (Videotape (Story Behind The Song)), Bruce Solberg (Videotape (Story Behind The Song)), Dale Ann Steiber (Monitors (Story Behind The Song)), Chuck Weiss (Monitors (Story Behind The Song)), Bob Wexler (Monitors (Story Behind The Song)), Sam Drummy (Camera (Story Behind The Song)), Dean Hall (Camera (Story Behind The Song)), Larry Heider (Camera (Story Behind The Song)), Bob(by) Keys (Camera (Story Behind The Song)), Dave Levisohn (Camera (Story Behind The Song)), Wayne Orr (Camera (Story Behind The Song)), Irv Weitsman (Camera (Story Behind The Song)), Ken Woo (Camera (Story Behind The Song)), Hugh Walsh (Additional Crew (One Song Many Hands)), Brett Wiley (Additional Crew (One Song Many Hands)), Tim Anson (Electrician (Story Behind The Song)), Brian Burton (Electrician (Story Behind The Song)), Ernie Cox (Electrician (Story Behind The Song)), Eric Marstons (Electrician (Story Behind The Song)), Dave Morrot (Electrician (Story Behind The Song)), Kevin Myers (Electrician (Story Behind The Song)), Diane Randall (Electrician (Story Behind The Song)), Joe Rigoli (Electrician (Story Behind The Song)), Karen Rogers (Electrician (Story Behind The Song)), Tony Ward (Electrician (Story Behind The Song)), Debbie Woelfel (Electrician (Story Behind The Song)), James Hajdukiewicz (Make-Up (Story Behind The Song)), Gloria Levisohn (Make-Up (Story Behind The Song)), Brian McManus (Make-Up (Story Behind The Song)), Gail Schuman (Post Production Coordinator (OSMH)), Carol Slatkin (Post Production Coordinator (OSMH)), C(olumbia) B(roadcasting) S(ystem) Television Network (Post Production Services Donated By), Point 360 (Woodholly) (Post Production Services Donated By), Charley Randazzo (Edited By (Story Behind The Song)), Dan Andresen (Utility (Story Behind The Song)), Charlie Fernandez (Utility (Story Behind The Song)), Joseph Geus (Utility (Story Behind The Song)), Marc Gilmartin (Utility (Story Behind The Song)), Kevin Hayes (Utility (Story Behind The Song)), Richard Kinney (Utility (Story Behind The Song)), Ken Lay (Utility (Story Behind The Song)), Mark Marcum (Utility (Story Behind The Song)), John Mayon (Utility (Story Behind The Song)), Diane Stafford (Utility (Story Behind The Song)), Larry Woodside (Utility (Story Behind The Song)), Chris Alsup (Graphics (Story Behind The Song)), Helen Scrim Davis (Graphics (Story Behind The Song)), Gabriela Del Campo (Graphics (Story Behind The Song)), Mark Perkins (Graphics (Story Behind The Song)), Linda Rheinstein (Graphics (Story Behind The Song)), Maury Rosenfeld (Graphics (Story Behind The Song)), Tony Torino (Graphics (Story Behind The Song)), Christopher Buchanan (Co-Producer (One Song Many Hands)), Contemporary Security Services (Security (Story Behind The Song)), Dosters Security Service (Security (Story Behind The Song)), Wells Fargo Security Services (Security (Story Behind The Song)), Craig (B.) Golin (Produced By (Story Behind The Song)), Howard G. Malley (Produced By (Story Behind The Song)), Craig (B.) Golin (Editing Supervised By (SBTS)), Susan Diamont (Production Assistant (SBTS)), Dallas Trbovich (Production Assistant (SBTS)), Jerry Clemans (Re-Recording (Story Behind The Song)), David Fluhr (Re-Recording (Story Behind The Song)), Heidi Kim (Set Crew (Story Behind The Song)), David Morse (Set Crew (Story Behind The Song)), Debbie Slavin (DVD Associate Producer), Dennis McCarthy (Additional Music By (SBTS)), Dennis Rudge (Gaffer (Story Behind The Song)), Flora Moon (Location Sound (One Song Many Hands)), Roger Phenix (Location Sound (One Song Many Hands)), Paul Rusnak (Location Sound (One Song Many Hands)), Dennis Towns (Location Sound (One Song Many Hands)), Ron Yoshida (Location Sound (One Song Many Hands)), Doug Nelson (Audio (Story Behind The Song)), Elizabeth Sams (Field Producer (One Song Many Hands)), Ellis Mercantile (Props (Story Behind The Song)), Omega Studios (Props (Story Behind The Song)), Prop Services West (Props (Story Behind The Song)), Rentals West (Props (Story Behind The Song)), Scenic Express (Props (Story Behind The Song)), Show Biz Enterprises (Props (Story Behind The Song)), West Coast Theatrical Supply (Props (Story Behind The Song)), Erich Roland (Original Photography (OSMH)), Foster Wiley (Original Photography (OSMH)), Foster Wiley (Directed By (One Song Many Hands)), Foster Wiley (Edited By (One Song Many Hands)), Harriet Sternberg (Public Relations (Story Behind The Song)), Harry Benson (Image Front Cover Photo), Henry Diltz (Back Cover Photos), Sam Emerson (Back Cover Photos), Hollywood Coffee Services (Special Services (Story Behind The Song)), West Coast Worldwide Theatrical (Special Services (Story Behind The Song)), Jeff Fecteau (Audio Assistant (Story Behind The Song)), Murray Siegel (Audio Assistant (Story Behind The Song)), Jeff Margolis (American Music Awards Directed By), Jellybean Benítez (Remix Engineer (Story Behind The Song)), Jim Gillespie (Makeup Artist (Story Behind The Song)), John (B.) Field (Technical Director (SBTS)), John Coulter (Art Director (Story Behind The Song)), John Palacio(, Jr.) (Video (Story Behind The Song)), John Palacio(, Sr.) (Video (Story Behind The Song)), John Purdy (Video (Story Behind The Song)), Ken Hahn (Re-Recording Mixer (One Song Many Hands)), Ken Kragen (Executive Producer (SBTS)), Ken(neth) Yates (Executive Producer (SBTS)), Kris Kral (Associate Editor (One Song Many Hands)), Larry Jandrow (Electronic Maintenance (SBTS)), Laurel Altman (Talent Coordinator (SBTS)), Linda Corradina (Consultant (Story Behind The Song)), Ruth Robinson (Consultant (Story Behind The Song)), Marcia Thomas (DVD Co-Producer), Mark Melchiiorre (Assistant Lighting Director (SBTS)), Mark Welles (Videotape Operator (SBTS)), Matt Cokee (Communications (Story Behind The Song)), Michael Hull (Communications (Story Behind The Song)), Michael Branch (Assistant To Mr. Kragen (SBTS)), Mike Manoogian (Front Cover Hand Lettering), Mike Manoogian (Logo Design (Story Behind The Song)), Mighty Dots (Digital Logo Enhancements Donated By), Mikal Gilmore (Narration Written By (SBTS)), Paige Crowley (Stock Footage Research (OSMH)), Peter Morse (Additional Lighting (SBTS)), Priscilla Prestwidge (Production Coordinator (SBTS)), Ralph Quattrucci (Post Production Editor (OSMH)), Regina Mullen (Sound Editor (One Song Many Hands)), Robert Mozejewski (Videotape Librarian (SBTS)), Scotch 3M Videotape Division (Videotape Provided By (SBTS)), Sherry Jones (Produced By (One Song Many Hands)), Susan R. Nessenbaum (Production Manager (SBTS)), Sylvia Surdu Barron (Hair (Story Behind The Song)), The Post Group (Post Production Facility (SBTS)), Thom Knutson (Cue Cards), Tom Trbovich (Directed By (Story Behind The Song)), Walter Miller (28th Annual Grammy Awards Directed By), Washington Media-Associates (A Production Of), Olivia Pi-Sunyer (Production Assistant (OSMH)), Kristin Schneeman (Production Assistant (OSMH))

    Publisher »

Music Vision/Image Entertainment

    Catalogue Number »

USA2636DVD (DVD)

    Running Time »

52:43

    Liner Notes »

We Are The World: The Story Behind The Song
Running Time: 52 Minutes
Narrated/Hosted by Jane Fonda
Videotaped at A & M Recording Studios & Lions Share Recording Studios

Special Thanks To:

John Abrahams
Ken Abrahams
Bobby Adams
Joe Adams
Joan Adler
Irving Adler
Nancy Agli
Jack Albrecht
Dave Alpert
Herb Alpert
Kenny Altman
Bernice Altschul
Jay Antista
Mike Ashkins
Terry Auerbach
Tom Bahler
Fred Bailey
Tom Banghart
Eddie Banks
John Barnes
Mark Barnhart
Fred Bass
Paul Bassett
Paula Batson
John Beard
Pamela Beard
Harry Benson
Linda Bergener
Ivan Bernstein
Juli Biondi
Betty Bitterman
Donna Blackwell
Michael Boddicker
Mike Bonnaud
Richard Bomersheim
Peter Bott
David Bowers
Kim Bragg
John Branca
David Braun
Lydia Breckenridge
David Breskin
Efigo Brides
Christie Brinkley
Michael Brokaw
Hopi Brooks
Bob Brown
Tom Brown
Bonnie Bruckheimer
Dara Byrd
Brian Campbell
Ted Van Camperi
Jerry Cancellieri
Barbara Carr
Steve Carrillo
Allene Carter
Budda Eddie Carter
James Cassell
Arnie Chodorow
Ken Lei Cung
Bill Cohen
Candy Cole
Leon Cole
Jim Comorree
Ted Conroy
Jay Cooper
Mr. Cox
Les Crupp
Jerry Crutcher
Richard Cueto
Paulinho Da Costa
Tom Dahlberg
Doug Dana
Elian Dashev
Ronnie June Dashev
Roger Davies
Anthony Davis
Brandon Davis
Dave Davis
James Davis
Ken Dean
Lynne DeBernardis
Peter Deutsch
Susan Diamont
Sotero Diaz III
Michael Dilbeck
Frank Dileo
Henry Diltz
Ken Dodge
Penney Dodson
George Doering
Caroline Dorsey
Lyman Doster
Joe Douglas
Larry Drohman
Patrick Dubray
Emmanuel Dwamenah
Marcel East
Suzanne Edgren
Dub Edwards
Sam Emerson
Benny Faccone
Dan Farrington
Eduardo Fayad
Larry Fergusson
Dana Ferris
Wendy Garfield Ferris
Tom Fouce
Peter Fletcher
David Fishbein
Robert Franco
Al Freedman
Len Freedman
Gil Friesen
Michael Fuchs
Dell Furano
Kevin Gadd
Sandy Gallin
Cathy Garfield
Marcos Gastelum
Humberto Gatica
Wayne Glenn
Khaliq Glover
George Goen
James Goforth
Dan Goldich
Ronni Goldstein
Wendy Goldstein
Lance Golin
Joe Gormaloy
Samuel Graham
Walter Gray
Dyanna Green-Morris
Damon Griffin
Mark Grossman
Walt Grove
Bernie Grundman
Kurt Guehring
John Guerra
John Guess
Don Hahn
Tom Halloran
Cheryl Hamilton
Barbara Harper
David Harper
Ken Harper
Nelson Hayes
David Hayhurst
Michael Hayhurst
Chris Hecht
Robert Hilburn
Jim Holder
Michael Hollister
James Holloway
Jerry Huffman
Dan Hurd
Bob Hutchinson
Bob Jackson
Steve Jaffee
Joel Jauregui
Michael John
Louis Johnson
L.J. Jones
Quincy Jones
Rich Jones
Chuck Jordan
Barry Josephson
Karen Kanar
Clyde Kaplan
Morag Karius
Dan Kavanaugh
Warren Kaye
Lisa Kelsey
Mary Koetting
Patrice Kilby
Richard Kinney
Lee Klemmer
Claire Kohler
Linda Korbel
Leon Krajian
Peggy Kranz
Richard Kung
Scott Lampert
Jon Landau
Michael Landfreid
Larry Larson
Jolie Levine
Michael Linder
Macey Lipman
Mike Lippman
Meryl Lippman-Perutz
Myra Lebo
Bob Loveland
Alice Lumley
Martha Luttrell
Monroe Mabon
Kevin Maloney
Evelyn Mann
Gary Mannon
Yuri Mansdorf
Nancy Marcussen
Anka Maricevic
Antony Maricevic
Endi Maricevic
Buzz Martin
Dub Maitland
Cheryl McCall
Paul McKenna
Tony McKinney
Greg McMickle
Michael Melvoin
Jeff Meshel
Devera Metter
Bill Morgan
Frank Morgan
Matthew Morris III
Jerry Moss
Tommy Mottola
Joan Mullen
Bruce Murray
Anneleisa Nagel
Hans Nagel
Peg Needleman
Jack Nelson
Roger Nichols
Ron Oberman
Michael Omartian
Claudio Ordenes
Dave Otto
Janice Padwa
David Paich
Larry Parker
Mark Parsons
David Partin
Bob Perkins
Star Phifer
Greg Phillinganes
Elaine Phillinganes
Karla Phillinganes
Laura Piening
Bob Pittman
Steve Porcaro
Carl Porcella
Charles Quinn
Fred Raimondi
Patrick Rains
Ares Ram
Michael Randolph
Madeline Randolph
Steve Ray
Stephen M. Rediker
Laurel Resnick
Fred Rheinstein
John Richardson
Belinda Richie
John Rigney
Roel Riojas
Miguel Rivera
Gail Roberts
John Robinson
Al Rodriguez
Joe Rodriguez
Lynn Rogers
Marty Rogol
Glen Rosenthal
Ken Ross
Mark Ross
Steve Ross
Joanne Roth
Mark Rothbaum
Brian Russ
Marcus Ryles
Steve Schiffrin
Steve Schmitt
Lindsay Scott
Fred Selden
Shelly Selover
Art Sewell
Afrila Shirb
Ann Short
Alan Sides
Dick Siegel
Maury Silver
Ed Simeone
Troy Smith
Trish Talbot
Maya Tamura
Rowena Tauber
Bill Taylor
Joe Tawil
Steve Terry
Patti Tessel
Cameron Teufel
Gail Teufel
Mimi Thomas
Margaret Toll
Sharon Trocki
Garry Trudeau
Ian Underwood
Jacque Wagnon
Don Walker
Steve Warnick
Frank Weber
Howard Weiss
Charles Williams
John Williams
Linda Williams
Mary Williams
Terry Williams
Keith Winikoff
Ron Wilson
Malcolm Wiseman
David Wolff
Cathy Worthington
Steve Wynn
Riley Yagemann
Walter Yetnikoff
Cynthia Young
Michael Zarin
Andy Zucker

Abbey Party Rents
AGI, Inc.
Alan Lithograph, Inc.
American Federation of Musicians
American Federation of Television & Radio Artists
Ampex Corporation
Anheuser-Busch Companies, Inc.
AT&T Communications
Audio Affects
Audio Intervisual Design Systems
Audio Rents
Avon Rent-A-Car & Trucks
Bell & Howell/Columbuia Pictures Video Services
Bernie Grundman Mastering
Beverly Hills Juice Club
Bluma Bluebond Environmental Landcape Designs
Brayer Electric
Brockman Enterprises
Carlos 'N Charlie's
Chapman Studio Equipment
Cliff Typographers
Color, Inc.
Columbia Records
Cooper, Epstein, Hurewitz
Custom Color Services
Deliotte, Haskins & Sells
Design Effects Audio
Digital Dispatch Co.
Directors Guild Of America
Dyer/Khan, Inc.
Federal Express
Fleischman Hiller
G2 Graphic Service, Inc.
Genes Die Cutting
Geordie Hormel Enterprises
Golden Nugget
Golden State Sanwa Bank
Gore Graphics
Graphic Arts Systems
Great American Market
Hecht Custom Photo Lab
Image Transform
Immaculate Heart High School
Janmar Couriers
Jess S. Morgan & Co.
Kielty & Daton, Inc.
Krajian Advertising
Label House
Larry Brown Litho
Larry Franklin & Associates
Leeds Musical
Life Magazine
Lighthouse Studio
Livingstone Audio
Macey Lipman Marketing
Mann Bros., Inc.
Surface Protection Industries, Co.
Marchese Graphics
Mason Badge
Merchandising Methods Inc.
Mijac Music
MTV
Music Express
Nagel Nursery
N.A.R.A.S.
National Captioning Institute, Inc.
NIKE
Oberheim
Ocean Way Recording
Pacific Lithograph Company
Pacific Video
Pepsi, USA
Photo Image, Inc.
PIP (Sunset And La Cienega)
Pro Rock Unlimited
Protection Services, Co.
Quantity Photos
Qwest Records
Reco Color
Record One
Richard Photo Lab
Rolling Green
Rose Royce Of Holland
R&R Express
Someone's In The Kitchen
Sound Source Audio Rentals
Synclavier
TechniGraphics
Telephone Marketing Services, Inc.
U.S. Postal Service
Verkerke Reproductions, USA
Video Diversions
Video Monitoring Services
Videotape Products, Inc.
Warner Communications, Inc.
Wild & Associates
Williams Graphics
Winner/Clippinger
Winterland Productions
Writers Guild Of America
Yamaha

The preceding companies and individuals have donated their time and services for the production of this program.

Golin-Malley Productions in association with Kragen Productions

10 Anniversary Special - One Song, Many Hands: The USA For Africa Story:
Running Time: 52 Minutes
Narrated by Harry Belafonte
Featuring:
Ken Kragen - President USA For Africa
Quincy Jones
Kenny Rogers
Martin Rogol - USA For Africa
Lloyd Greig, M.D.
Julius Nyerere - Former President Tanzania
Larry Brown, M.D. - Tufts University
Tina Osso - Shared Harvest Food Bank
Scott Miller - Ohio Center For Family Development
Mazide N'Diaye - African Bureau For Integrated Development

We Are The World
Royalties - $57,400,000
Public Contributions To USA For Africa - $4,400,000
Total - $61,800,000

Hands Across America
Total - $26,300,000

Total Received For Distribution
In Africa And Domestically - $88,100,000

Projects Funded:
Africa - Over 450
Domestic - Over 2,000

The making of "We Are The World" & the story of "Hands Across America" courtesy of United Support of Artists for Africa

Copyright (C) 1994 United Support of Artists for Africa. All rights reserved.

All material is protected by copyright laws of the United States in all countries throughout the world. Any unauthorized exhibition, distribution or copying of this film or any part thereof is an infringement of the relevant copyright and will subject the infringer to severe civil and crimial penalties.

DVD Issue Notes:

Digitally Remastered at CBS Televison City, Hollywood.

'THERE COMES A TIME WHEN WE HEED A CERTAIN CALL'

United in a Song of Hope, America's Greatest Popstars Raise Their Voices to Help Africa's Hungry

A REVEL WITH A CAUSE

At two in the morning, Ray Charles strolls out of the studio for a moment, claiming he's had no good lovin' since January. (Of course, it is January.) Cyndi Lauper bops off to fix her makeup. Michael Jackson and Paul Simon, both certified wallflowers, huddle behind a potted plant to discuss songwriting. At the piano sits Stevie Wonder, noodling. Willie Nelson asks Bob Dylan if he plays golf. Dylan, slightly amused, replies, "No, I've heard you had to study it." Says Willie, who has become obsessed by the game, "You can't think of hardly anything else." Across the room Bob Geldof, organizer of Britain's Band Aid project, which raised millions for famine relief, passionately explains to Bruce Springsteen the logistical difficulties as he draws a map of Africa on a piece of sheet music.

Welcome to a relatively quiet moment at the world's most serious party. At Los Angeles's A&M Recording Studios, a highly pedigreed group of singing multimillionaires have come together with one goal: to help Africa's starving. Their recording, "We Are the World," fresh from the pens of Michael Jackson and Lionel Richie, came out two weeks ago and is getting unprecedented air play. That January night three visitors from LIFE were the only outsiders on hand.

AN ANTHEM FOR A NEW AGE OF GIVING

This is the inside story of a hit song and how it is raising millions for famine relief in Ethiopia and the rest of Africa. Free-lance journalist David Breskin and LIFE writer Cheryl McCall were on the scene in Los Angeles for more than a week before the recording session-itself a unique, night-long happening that is described here too.

JANUARY 22: Security is tight outside Kenny Rogers' Lion Share Recording Studio on Beverly Boulevard. Inside, there is a commotion in Studio A: Skeet, Smelly, Stevie and Q are carrying on. "Skeet" is a relic of Lionel Richie's childhood. When friends called Michael Jackson Funky, he said it was a dirty word. They made it "Smelly." With Stevie Wonder and producer Quincy "Q" Jones, they are running through what they call an Acapulco (a cappella) version of the song Michael and Lionel have just written-but not yet polished. Tonight the basic instrumental track will be recorded, Lionel and Michael will add a "guide" vocal, and 50 cassettes of the song will be duped for the invited performers. In addition to the four stars, the studio is swimming in musicians, techies, video crews, retinues, assistants, organizers and spilled popcorn from a fierce shoot-out between Michael and his constant companion, Emmanuel Lewis, 14, star of Webster.

The studio is a blond-wood, track-lit affair, all California plush and casual, and the mood in the room reflects it: Everyone is relaxed and upbeat. During an instrumental run-through, Michael, Lionel and friends huddle over a copy of the National Enquirer, whose cover story is on Joanna Carson. Her claim that she can't live on $44,600 a month becomes an absurd motif for the evening.

After the fifth take, the studio musicians listen to the playback in the control room. Quincy tells them he wants one more, "because you won't be thinking about it this time. I still hear a little bit of thought in there now." During the sixth take, Lionel kneels by the mixing board to listen, Michael sits on the couch with his head nodding to the beat and his lap full of Emmanuel. Finally Q gets what he wants.

To compose the song, Michael and Lionel had hung out for four evenings, visiting in each other's homes. No notes were written. Then after spending a day apart, Lionel gave Michael two melodic ideas on a tape. Michael said, "I got it. Thanks." With those lines as a beginning, Michael sneaked into the studio that night. "I went ahead without even Lionel knowing," he says. "I couldn't wait. I went in and came out the same night with all the music completed. I presented the demo to Quincy and Lionel, and they were in shock-they didn't expect to see something this quick. They loved it." There was one weekend to spare before the recording session.

In the studio Michael and Lionel begin laying down the vocal. Between takes, Michael drums his fingers against the baffles in rhythmic bursts. They embellish the melody, improvising wildly. Quincy reminds them that the purpose of this vocal is simply to teach the others the song. "Play it straight," he advises.

The major problem of the evening is the lyrics, specifically the third line of the chorus: "There's a chance we're taking, we're taking our own lives." Quincy tells them he's worried the second part of the line will be considered a reference to suicide. Michael says, "I thought about that too." They listen to the playback of the chorus, and Lionel immediately offers a change: "We're saving our own lives." Quincy suggests the first phrase be changed as well. "One thing we don't want to do, especially with this group, is look like we're patting ourselves on the back. So it's really, 'There's a choice we're making.'" Michael sings the new line. Lionel responds, "You're right. I love it." After a little post-midnight revising, the lyrics are set.

They finish a chorus of pure melodic sounds, "sha-lum shalingay," at about 1:30 a.m., at which point Q calls from the control room, "If we get it too good, someone's gonna start playing it on the radio. Let's not put anything more on this tape."

JANUARY 24: The cassette dupe of "We Are the World" goes out to all the artists via Federal Express, which, in the spirit of the event, foots the bill. Enclosed is a letter from Q addressed to My Fellow Artists. Part of it has a Mission Impossible feel to it: "The cassettes are numbered, and I can't express how important it is not to let this material out of your hands. Please do not make copies, and return this cassette the night of the 28th..." He closes, "In the years to come, when your children ask, 'What did mommy and daddy do for the war against world famine?' you can say proudly this was your contribution."

JANUARY 25: Ken Kragen, manager of Richie and Rogers and organizer of this songfest, chairs a production meeting in a stucco bungalow just off Sunset Boulevard. Present are some 20 associates-variously involved in legal matters; flower and plant procurement; talent coordination; promotion; transportation; interviewing; art direction; food, drink and ice acquisition; video documentation; public relations; traffic control; credentials; security and leaks. Kragen addresses the last problem immediately: "The single most damaging piece of information is where we're doing this. If that shows up anywhere, we've got a chaotic situation that could totally destroy the project. The moment a Prince, a Michael Jackson, a Bob Dylan-I guarantee you!-drives up and sees a mob around that studio, he will never come in."

Over at Lion Share Studio, Tom Bahler, Q's associate producer and vocal arranger, shows up looking like a man who has the world on his shoulders but is happy about it. He retreats to a back room, where he begins to think about solos. He says of the powerful talent at his disposal, "It's like vocal arranging in a perfect world." Q sees the other side of the equation: "It's like putting a watermelon in a Coke bottle." The goal is to match each solo line with the right voice.

JANUARY 26: At the "choreography" session in Richie's house, decisions are made as to where each artist will stand. Let's see, Willie goes over here, and Bruce over there, Diana like so and...

JANUARY 28: This is the big night. "God is with us," cries Quincy Jones, on being told Michael Jackson has pulled into the heavily guarded parking lot on time, 9:00 p.m. Michael has come earlier than the others to record a vocal chorus by himself. He horses around with Q, then touches up his rouged cheeks. He walks into the studio and begins singing, sunglassed and solitary, thumbs in his front pockets.

Steve Perry, lead singer of Journey, hurries into the control room, peers through the window at Michael. He asks, "Am I dreaming? Am I on drugs or what?" One by one, the stars show up. When Ray Charles arrives, Billy Joel says, "That's like the Statue of Liberty walking in." Quincy introduces them, "Ray, this is the guy who wrote 'New York State of Mind.'" Joel is trembling.

Bob Dylan slouches in, stone-faced, and sits down in the seat closest to the door. Bruce Springsteen arrives with no entourage, no bodyguards. He simply parked his rented car across the street from the studio, breezed by security and entered the control room, where he's smothered in giggles and hugs by the Pointer Sisters. He hugs Dylan. He hugs Joel. They all watch Michael. After a take, Quincy calls out, "Sounds great, Smelly!"

At this point, Diana Ross makes a grand entrance, screaming, "I love this song!" From a dramatic, dipping hug with Quincy (the man is a hugging machine), Diana jumps onto "Bobby" Dylan's lap for a few minutes and then asks Dionne Warwick about her perfume, "Boy, you smell so good, what is that?"

Kenny Rogers comes through the door. Stevie Wonder is led in. Paul Simon sneaks in and asks, "Is there somewhere I can put my coat?" In a few minutes the control room is in the throes of perhaps the world's first documented case of starlock: no one can move in any direction. It's hot and happy and chaotic, a din of famous voices, but no work is getting done. Quincy yells, "Let's move this into the studio, please."

10:30 P.M.: Each performer's name is on a piece of silver gaffer's tape on the risers. Everyone wanders around looking for his or her spot. When Lionel Richie rushes in, having just hosted the American Music Awards and won six himself, he tells Bette Midler how fine she looks.

Bob Geldof is introduced to applause. He steps onto Quincy's podium to address the group, with fire in his voice: "I think what's happening in Africa is a crime of historic proportions..." He goes on to detail his experience in Ethiopia: "You walk into one of the corrugated iron huts and you see meningitis and malaria and typhoid buzzing about the air. And you see dead bodies lying side by side with the live ones. In some of the camps you see 15 bags of flour for 27,000 people. And I assume that's why we're all here tonight."

Ken Kragen explains how the money will be spent-40 percent for immediate relief, 40 percent for slightly longer-term relief, the rest for long-term, self-reliant development, and perhaps some funds for the hungry and homeless of America. All the performers and technicians have donated their services; a caterer, the food. Q runs through the agenda. As Michael's voice singing the guide chorus fills the headphones, Quincy shouts, "O.K., let's start chopping wood." They begin to sing. "Take it to the church," he calls.

MIDNIGHT: After several takes, a break is called. Billy Joel hustles over to the guests' party in the adjoining soundstage (where they're watching the recording via video hookup) and locates fiancee Christie Brinkley in the crowd of 500 that includes Jane Fonda, Brooke Shields, Steve Martin and Kareem Abdul-Jabbar. Joel squeezes her into the studio, introducing her to Dylan and Paul Simon. Christie looks starstruck. By the time she leaves the room, she's talking about mobilizing the fashion industry for a similar effort.

Ray Charles sits at the piano for a spell, straddling the bench, and talks of his visits to Africa: "I've put my hands on these children, and their skin feels like cellophane on bone. You have to feel that, man. That's unreal stuff."

1:00 A.M.: As the chorus reconvenes, Stevie Wonder announces that he would like to substitute a line in Swahili for the "sha-lum sha-lin-gay" sound. Waylon Jennings, figuring no good ole boy ever sang in Swahili, leaves the studio, never to return. Before long a full-fledged creative conflict breaks out. The video feed to the soundstage party is abruptly cut, so that the guests will be spared an all-star argument, which follows: Geldof points out that Ethiopians do not speak Swahili, and Lauper adds that it's like "singing to the English in German." Michael Jackson votes to keep "sha-lim sha-lingay," but after this is sung a few times it too runs into opposition. Quietly a coalition forms among Lauper, Al Jarreau and Paul Simon-who want to find something meaningful to sing in English.

"We can make a meaning," cries Jarreau, and soon he produces a new line: "One world, Our world." Lauper exudes, "That's right! Ain't what we're doing trying to unite the world? Q asks the group, "Can everyone agree on 'One World'?" Stevie is bummed. Tina Turner, eyes closed from fatigue, says to no one, "I like sha-lum better-who cares what it means?" But most acquiesce. It does get changed one more time to "One World, Our Children." They begin rehearsing the new part. It sounds beautiful, fitting. The video connection is restored to the bewildered guests.

Then in a sudden tribute to Harry Belafonte, who had first suggested this benefit recording session, Stevie begins singing "The Banana Boat Song" and everyone joins in with "Day-O!'

3:00 A.M.: A photograph is taken for the album cover and poster, and it's time for the solos. Lionel and Quincy call the performers over to the piano. There will be short duets between the solos. Stevie will harmonize with Lionel, Kenny Rogers with Paul Simon, Tina with Billy Joel, Willie with Dionne, and so on. Since Prince did not show up, his line is given to Huey Lewis. Cyndi Lauper pulls Q away from the group and shyly asks him, "Is it all right if I improvise?" Quincy is thrilled. "Absolutely. This is not the Rite of Spring."

4:00 A.M.: The soloists stand in a semicircle. Their mood is light-hearted. Just as they are ready to sing, two Ethiopian women, guests of Stevie Wonder, come into the room. One woman says, tearily, "Thank you on behalf of everyone from our country." The performers are stunned. No one speaks: a deep, penetrating silence. The women cry; eventually, so do the performers. The shaken visitors are led from the room. Quincy breaks the silence, saying softly, "It's time to sing."

5:30 A.M.: Stevie rehearses Dylan at the piano for a solo version of the chorus. Dylan is tentative. Stevie is doing a better "Dylan" than Dylan-more whining exaggeration-and explains, "Do it more like this." After 20 minutes of coaching from Wonder, Dylan approaches the microphone. He barely manages a mumble. Lionel clears almost everyone out. With each successive take, Dylan gets stronger-more like himself. He asks Stevie to play the piano behind him. Q rushes in after the take, "That's it, that's it, that's the statement." Dylan, unconvinced, mutters, "That wasn't any good." Lionel tells him, "Trust me." As Q gives him a bear hug and whispers, "It's great," Dylan finally smiles. "Well, if you say so."

Soon after, Jarreau corners Dylan by the piano. He's choked up. "Bobby," Jarreau says, holding back tears, "in my own stupid way I just want to tell you I love you." Dylan slinks away without even looking at him. Jarreau walks to the door of the studio, looks back at Dylan, cries, "My idol," bursts into tears and leaves.

Enter Bruce Springsteen for his solo chorus. "You sounded fantastic, Dylan," he calls to Bob as he steps up to the mike. Dylan leans against the wall to watch Bruce work. Bruce asks Q for some direction. Q: "It's like being a cheerleader of the chorus." Bruce: "I'll give it a shot." Springsteen sticks his sheet music in his back jeans pocket. His voice is rough, pained, reduced to essence-perfect for this part. (He had done a four-hour show in Syracuse the night before and had flown all day to get here.) After a nearly flawless first take, he humbly asks Q, "Something like that?" Q can only laugh. "Exactly like that."

Bette Midler hugs Dylan, tells him, "Good night, dearest." Springsteen listens to a playback on the studio monitors, approves, gives Lionel his autograph and walks out of the studio, past six waiting limos in the parking lot, across the street to his rent-a-car and is gone. By 8:00 a.m. the rest have disappeared into the morning too.

7:30 P.M.: Lionel Richie's house. Lionel has been sleeping since 10:00 a.m. The phone rings. It's Steve Perry, calling from his L.A. hotel room. Perry says he just had to call somebody. Lionel asks him what's wrong. Perry says that he slept well. He got up and ordered room service. They brought him breakfast. He sat down. He pulled the silver cover off the food. And then he started crying.

David Breskin, LIFE magazine (April 1985 Life Magazine cover story reprinted with permission.)

Front Cover Photo:

Bottom row, left to right:
Paul Simon
Kim Carnes
Michael Jackson
Diana Ross
Stevie Wonder
Quincy Jones
Smokey Robinson
Ray Charles
Sheila E.
Randy Jackson
La Toya Jackson
Bette Midler

Second row:
Tina Turner
Billy Joel
Cyndi Lauper
Bruce Springsteen
Willie Nelson
James Ingram
Bob Dylan
Ruth Pointer
Marlon Jackson
Tito Jackson
Jackie Jackson

Third row:
Daryl Hall
Dionne Warwick
Al Jarreau
Kenny Rogers
John Oates
Huey Lewis
Johnny Colla
Anita Pointer
Bill Gibson
Chris Hayes

Top row:
Lionel Richie
Steve Perry
Kenny Loggins
Jeffrey Osborne
Lindsey Buckingham
Dan Aykroyd
Harry Belafonte
Bob Geldof
Sean Hopper
Mario Cipollina

Not pictured:
Bonnie Pointer
Waylon Jennings

"THE AMERICAN MUSIC AWARDS" Courtesy of Dick Clark Productions, Inc.

"28TH ANNUAL GRAMMY® AWARDS" Courtesy of the National Academy of Recording Arts and Sciences.

"LIVE AID" courtesy of Band Aid Charitable Trust.
"LIVE AID" footage courtesy of ABC, BBC and MTV.
MTV News Footage used with permission by MTV MUSIC TELEVISION ©1985 All Rights Reserved, all related titles, characters, and logos are trademarks of MTV Networks, a division of Viacom International Inc.

Special Thanks JAY L. COOPER, BAMBI HOLZER, DR. LLOYD GREIG, DR. GERALD BENDER, NANCY BRAKENSIEK, DICK CLARK, FRAN LaMAINA. NEIL PORTNOW, JOHN COSSETTE, MARIO GONZALES, ROSE SCARAGLINO, SUZIE WESTON, HOWARD MALLEY, JEFF MARGOLIS, WALTER MILLER, SUZY VAUGHAN, JEFF JAMES, LENNY STACK, PAUL MADIERA, SHELLIE YASEEN, ALAN TAKIGUCHI, BOB HAXBY, MICHAEL KLAUSMAN, JOHN VACKARINOS, CARL MAURIZI, KEITH RICKS, PAM SPARROW, SCOTT PISANO, EDDIE ACKERMAN, BOB HEIBER, BRIAN HORBOCHUK, TRACY MYMAN, VERA GOLD WOLFHART, MICHELE GURNEY, MARK KRAIS, JILL SINCLAIR, RESEARCH VIDEO, BILL DiCICCO, PAUL SURRATT, ANDY BLAU, JEFF BURAK, SERGEI KOJINE, JEFRY ABRAHAM and CHARLIE O'DONNELL

GRAMMY is the registered trademark of The Recording Academy.

www.tvclassics.com

20th Anniversary Special Edition

2 DVD Video Set

Includes Never Before Seen Footage

WE ARE THE WORLD is about the making of a miracle. It's the story of a dream that became a song, then an event and finally a worldwide movement with one vitally important goal: to help put an end to world hunger.

On January 28, 1985, 45 of the biggest names in popular music got together to record WE ARE THE WORLD. The song raised millions which enabled USA for Africa to help those in need. The organization is still alive and active 20 years later. WE ARE THE WORLD is more than a moving collection of words, pictures and music - it is a living piece of history.

BONUS FEATURES:
• Previously Unseen Footage - Outtakes from the Recording Session
• 10th Anniversary Special
• 1986 American Music Awards Performance of the Song
• The "Live Aid" Concert Performance of the Song
• 1986 GRAMMY Awards Clips
• Bonus Reprint of a 1985 Life Magazine Cover Story
• Karaoke Track

The proceeds from this DVD will go to help end hunger and AIDS in Africa.

If you wish to contribute to USA for Africa, please go to www.usaforafrica.org
5670 Wilshire Blvd., Suite 1450
Los Angeles. CA 90036

DISTRIBUTED EXCLUSIVELY BY
Image Entertainment, Inc.
20525 NORDHOFF STREET, SUITE 200
CHATSWORTH, CA 91311

www.image-entertainment.com

www.dvdinformation.com

Image Front Cover Photo: ©1985

Dolby and the double-D symbol are trademarks of Dolby Laboratories Licensing Corporation.

GRAMMY is the registered trademark of The Recording Academy.

Surround DIGITAL 2.0 Stereo
WE ARE THE WORLD: THE STORY BEHIND THE SONG IS PRESENTED IN ITS ORIGINAL 1.33:1 ASPECT RATIO.

Store under cool, dry conditions.

WARNING: The program contained in this DVD is authorized for private home use only. All other rights are retained by the copyright proprietor. The FBI investigates allegations of copyright infringement, and federal low provides severe criminal and civil penalties for those found to be in violation.

Made in U.S.A.

Program Content: (C) 1985
Compilation and Bonus Material: (C) 2004
DVD Packaging: (C) MMIV Image Entertainment, Inc.

Region - 0

NTSC

DVD Video

0 14381-2 6

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Only excerpts of "We Are The World" are featured in "One Song, Many Hands: The USA For Africa Story" but we have included the full version in the tracklisting for the program solely for indexing purposes.

    Last Modified »
2012-03-16
    Tracklisting »
Discography entry submitted by Jeff Kenney.