PARK CITY, Utah—A history lesson for millennial and Gen Z music fans who may remember “We Are the World” is the abominable events spearheaded by Wyclef Jean in 2010. Thing. great night of pop (premiered at the Sundance Film Festival on January 19th, ahead of its January 29th release on Netflix) is a nostalgic look back at the birth of the hugely popular and famous charity single from 1985. . Featuring extensive behind-the-scenes footage and the participation of many song contributors, Bao She Nguyen's documentary doesn't seek to have the same transformative impact as its subject. Still, as long as you look back in celebration, it's compelling enough to temporarily brighten your day.
On January 28, 1985, on stage at the American Music Awards, Lionel Richie declared, “Nothing will change after tonight,” and while that may not have been strictly true, for the recording artist… It was certainly a monumental night. Over the past decade, Ritchie has hosted televised awards ceremonies, won numerous trophies, and established himself as a solo artist (this was after leaving the Commodores). cemented his position as one of the Billboard Kings.he discusses the overwhelming madness of the work great night of popBut only in the context of his real victory, he organized a post-show get-together at A&M Recording Studios in Hollywood, where he, manager Ken Cragen, producer Quincy Jones, and Superstar Michael Jackson is a collection of figures from the pop world. universe of music.
The impetus for this gathering was a short story called “We Are the World,” which was designed as a fundraising tool for famine relief in Africa. Inspired by Harry Belafonte himself, who was inspired by Bob Geldof's Band Aid single 'Do They Know It's Christmas?', this song is set for an unparalleled chart topper. Met. But there was a problem from the beginning. At the forefront of this was the fact that competing with disparate celebrities was a logistical nightmare. In the end, the solution turned out to be to record the song in one night, right after the American Music Awards. Because so many hitmakers are already gathered in his one place in Los Angeles. But the immediate problem was the song itself, which Ritchie and Jackson wrote furiously on time, after Stevie Wonder, whom Ritchie had originally tried to recruit, didn't return his phone calls. was.
Even without Wonder's help, Ritchie and Jackson reworked the song to impress Jones, and the demo was quickly sent to potential collaborators along with a note inexplicably refusing to reveal where it was recorded. This was a measure Cragen believed was necessary to keep the paparazzi at bay and therefore encourage artists' participation.
As history has proven, many people have done so, from Bob Dylan, Tina Turner, and Kenny Rogers to Diana Ross, Billy Joel, and Al Jarreau, but they've been known to do so by overdosing on wine. It seems like he had a hard time completing the short solo. Quite a few of her “We Are the World” A-listers chime in with fond memories. great night of pop, Bruce Springsteen, Dionne Warwick, Smokey Robinson, Cyndi Lauper, Kenny Loggins, Huey Lewis and more. What a thrill and honor it was to be in the same room with such amazingly talented people, and who are they, other than Sheila E's wry admission that she was only invited to seduce Prince? does not say anything revelatory about these minutes. To the studio. But their commentary gives megawatts the material personality they need.
Despite boasting a short audio snippet of Richie and Jackson writing “We Are the World” (in which Richie recalls an encounter with Jackson's pet snake and chimpanzee BFF Bubbles) supplemented)great night of pop It works best in the second half by placing the viewer inside a recording studio with many of the project's musicians. Anyone who has seen the music video for this song will be familiar with this space as it was filmed on this momentous occasion, but there are plenty of unreleased outtakes of the men and women working hard on this track. It is in. Witness the legends inventing, bickering, and nervously preparing and performing in real time, each desperate not to be seen as not belonging. Lewis, who was asked to develop his improvised three-part structure, had to deal with this situation, and the harmony between Roper and Kim Carnes is perhaps the raison d'être of this documentary.
great night of pop It's a chance to spend time in VIP company, and its best moments are when Wonder takes Dylan aside and helps Dylan excel in his role. It's a glimpse into how they are finding ways to combine their unique skills. A faithful imitation of the folk icon. In fact, these are the only things addressed in the film, as Nguyen avoids any serious discussion of the philanthropic aspects of the song. Where the money went and what difference it made is left to closing text cards that keep things vague and high. The focus is squarely on watching the stars create globally popular art by the seat of their pants, with lyrics and melodies created hours before other notable compatriots arrive in the studio. Whether it was Jackson or Rogers workshopping it, it turned out to be reasonably convincing. And Paul Simon is working on getting their voices to mesh properly.
Nguyen keeps the late Jackson and Jones, now 90, front and center throughout, emphasizing the key roles they played in achieving this landmark achievement. Nevertheless, at its core, great night of pop Ritchie still seems amazed at the fact that he was able to pull off this feat so successfully on January 28, 1985, having indeed spent 24 hours doing it and staying up all night (“We Are the World”) is currently the 8th best-selling single of all time). Ritchie turns out to be socially recording his own story, ultimately suggesting that musicians are as drawn to (and in awe of) other musicians as they are to his noble cause. doing. So what's missing from this superficial but spirited rewind is the answer to the biggest question about “We Are the World”: Who exactly invited Dan Aykroyd? Just the answer.