Jan. 14, 2026
The Song That Stopped the World
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Today on Back to the 80s Radio, today’s show is a little different. It’s just me behind the mic—no co-host, no banter—just a moment to slow down and revisit one of the most powerful songs the 1980s ever gave us: We Are the World.
This wasn’t just a song. It was a moment in time. In 1985, the biggest voices in music came together—not for fame, not for charts—but to remind the world that compassion still mattered, that unity was possible, and that helping someone you’ll never meet was worth doing. On today’s show, I talk about what that moment meant back then—and why it feels even more important now.
We’ll reflect on the heart behind the song, the humanity in the room that night, and how the 80s had a way of bringing people together across styles, egos, and backgrounds for something bigger than themselves. This is one of those shows you listen to a little louder…
and maybe think a little deeper. If you lived through it, you’ll remember exactly where you were.
If you didn’t, you’ll understand why this song still matters.
Let’s go back to a time when the world sang together. Back to the 80s Radio
Real music. Real memories. Real heart. I
Become a supporter of this podcast: https://www.spreaker.com/podcast/back-to-the-80s-radio--5883226/support.
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Welcome everybody. This is the one and only back to
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the Eighties Radio. This is Tuscano from the dynamic duo
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of Radio Tascano and Chang. If this is your first
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time finding the show, here's what we do. We talk
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about the eighties and we talk about music wherever you're
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listening to us from tonight, where you're in the car
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at home via headphones with the lights slow. I'm really
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glad that you found the show. Now, if you're new here, welcome,
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You picked a great evening. And if you've been with
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me before, well you already know how this goes. We're
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gonna slow it down just enough to let stories breathe,
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but we keep the energy moving because this is after all,
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steal Radio. So you can hear the show anytime you
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want at fmads dot com. That's Fmaighties dot com. You
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can write into the program as well at fmadsradio at
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gmail dot com. And if you're listening on a podcast app,
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understand this, You're only going to be listening to the
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beginning and the end of the songs because we only
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play the songs in their entirety for the first week,
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week and a half and then for copyright issues. We
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take them down. So make sure you're following the show,
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leave a review, a comment when you get a chance,
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wherever you listen to us, and that's how this show
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stays on the air and keeps growing. All Right, today,
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we're going to be going back to nineteen eighty five,
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when pop music stopped competing with itself and decided to
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do well, something bigger. You already know the song, you've
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heard it, and you've probably sung it many times. But
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what you may not know is how actually the song
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we're going to be talking about today came together, Who
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pushed it forward from the very beginning, and why for
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one night some of the biggest names in the music
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industry agreed to check their egos at the door. Now,
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this isn't going to be a countdown, and it's not
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a trivia night. This is the real story behind We
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Are the World. Let's set the era first. So here's
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Huey Lewis on the news and the Power of Love.
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You're listening to the one and only back to the
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eighties radio.
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A curious thing, another man.
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Up to a little white.
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Bonding and feeling. That's power love.
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After the diamonds, bricks like cream, strong and like a band,
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streaming like a band.
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Want your own right power.
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Love if you home in mind, you don't.
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Need money and you don't take fame, time need a
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credit card.
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Line in their strain, stand in sudden strong.
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Sometimes with my se your life.
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That's a powera love.
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It's a time, lovest time of feeding my mind saying
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next time feeding it in my man.
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You can't be can when found that's the problem, the
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worm out, don't tray many, don't take fame, don't need
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no credit card line in the stream, start in the sun,
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in the reading pool sometimes.
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But by al see no life.
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They say.
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Love, but you don't care. But when need of you
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and with a little U from you, feel the pi.
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You feel the proper love.
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Can you feel it?
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Don't take money, don't take side it, don't need no
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trying to.
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Come right there sat the nabs stalling.
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And steal to feel in field still.
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Steal the power. That's fun, that's power, steel the power.
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Right Friday, alright, Briday.
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Right party right time, right, we get.
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Quentin John if you're ready.
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All right, welcome back. That was Huey Lewis and the
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News and the Power of Love, a song that came
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out as a soundtrack for a movie you may have
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heard called Back to the Future. That sound really captures
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something about the mid eighties. It was a decade of confidence,
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I was sure it was, but there was also sincerity.
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It was.
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It was a decade that everyone believed that music could
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still do something and accomplish something. And that belief is
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exactly where we are tonight talking about a song called
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We Are the World, and that's where everything begins today.
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An idea that didn't start with a record label, and
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it didn't start with Michael Jackson, believe it or not,
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and it did not start as a song. It started
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with Harry Belafonte. Belafonte had been involved in humanitarian and
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civil rights work for decades, and by late eighty four
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he was watching the news coverage about the famine and Ethiopia,
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and if you went through the era, you'll remember exactly
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what I'm talking about. We saw the infomercials. It seemed
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like they would last hours, and we would watch the
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children cry and dead kids on the street, and it
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left a hole in your heart, the images that were
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just impossible to ignore. Well, at that same time, something
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important had just happened overseas in the UK, a group
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of British and Irish musicians released Do They Know It's
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Christmas as band aid Now. This song and video raised
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significant amount of money and focused global attention on the crisis. Well,
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Bellafonte saw that and asked a simple question, why isn't
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there an American version of this? Not as competition but
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as responsibility? And Bellefonte knew he couldn't do it alone,
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and he knew it had to feel real, so he
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reached out to Lionel Ritchie, who at the time was
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one of the biggest artists in the world, respected across pop,
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R and B and adult contemporary radio, and he agreed
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to help. But he made something very clear from the
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very start, and that song itself had to be good
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enough to stand on its own with no slogans, no guilt,
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We're talking a real song. Now. That's where Michael Jackson
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enters the picture. Because Michael worked on the melody quietly,
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mostly on his own, aman for something universal yet simple,
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almost like a hymn, and Richie focused on lyrics and structure.
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So here's an important detail. There were no singers, no guarantees.
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It was just an idea, a cause, and a song
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that needed to be finished. And we're going to get
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into that and a lot more as we joined Tears
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for Fears into a song that came in at the
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right time from nineteen eighty five, a song with more
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of a political point of view. And everybody wants to
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rule the world.
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Well even well you say, we will both to.
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Let on your best combas.
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It's my it's my only, help me to the side.
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Help me make sid and last last.
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Start till sod was made so soundly, too mad, and.
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Was made.
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The sas say that ver never did they went Jo Basketball,
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Brad f Bodys.
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When Cameron was in the Egypt's land, let my Cameron go.
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All right, welcome back to the eighties radio today. We're
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talking about the song We Are the World Now. Where
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we left off is once the song came into fruition,
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once the song was developed, once the song existed. The
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following challenge wasn't much musical. It was the human challenge.
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And that's where Quincy Jones steps in because Quincy Jones
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immediately understood the danger here and not musically speaking, but
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socially why Because frankly, there were too many egos, too
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many histories, too many power dynamics. So what he did
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is he set some rules. We're only going to do
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one session and there's no hierarchy. And yeah, that sign
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that he put up, handwritten, was taped to the wall,
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and this sign said check your ego at the door.
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Now let me backtrack a little bit because there was
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another key figure whose name is Ken Craigan, a major
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music manager at that time, and he handled logistics, you know,
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outreach and organization, and he helped form USA for Africa,
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the nonprofit created to manage the funds. Then after that
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came the most important decision of all, which was a
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recording that would happen on one night only on January
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twenty eighth, nineteen eighty five, immediately right out after the
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American Music Awards at A and M Studios in Los
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Angeles finished. Okay, so that was late night, no rescheduling,
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and no second sessions. If you showed up, you were in.
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If you didn't, you were out, and the song was
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going to be recorded anyway. So what ended up happening
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is artists started arriving tired, some still dressed from the
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awards show and unsure who else would be there. And
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when the doors closed, something unexpected happened. There was a
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lot of patience. It was a long night, and people
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waited their turn. They listened, They encouraged each other. You know,
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some artists nailed their lines immediately, others struggled. One artist
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famously froze, and instead of pressure or embarrassment, another artist
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stepped in quietly and helped them through it. That moment,
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more than anything else, is the heart of the song.
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When the economy was good and the metal was heavy?
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Man, how can I just.
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Let you walk away?
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Just let you leave without the trace, when I standing
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taking every bread with you. You're the only one really
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knew me. How can you just walk away from me
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when all I can do is watch you leave? Because
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you save the life around.
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The pain and even shave thirty.
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You're the only one you really knew me.
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No stingle looking me now, there's just a naptio space.
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There's nothing left to real me, just the man red
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of face.
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You take a lin line, that's just.
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A naptio space.
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That you're coming back to me is against the yards,
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And that's why I've got to me.
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I was shocked with the space.
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Turn around, turn.
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Around and see bestride.
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There's so much journey to.
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Sity, so many signs.
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Why you're the only one really love me? So she
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don me not line.
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It's just an anti space.
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There's nothing that chance to me. I mean just a
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very all the things. It's now take a look at
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me now stab an antiou space. But to waste for
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you is all I can do you when that's all
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love God the face.
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Don't take on the looking.
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Because n standing he.
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And she's coming first on me.
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It is against all off.
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It's the chums of God.
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The change.
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You just heard Phil Collins and against Dull Odds on
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Back to the eighties Radio today. Here on back to
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the eighties Radio. We are talking about the song we
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Are the World. Well, by early morning that song was
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finished the entire night one session and when We Are
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the World was released in March of nineteen eighty five.
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It went to number one around the world. It won
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multiple Grammy Awards, raised over sixty three million dollars for
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famine relief, some say up to eighty equivalent to around
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six hundred million or so today. But that's not why
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it still matters. It matters because it didn't feel cynical.
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It really felt sincere. It was people using what they
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already had, their talents, their visibility, their visibility, their influence
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to respond to something that was real. All right, stay
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with me here, because before we let the song play today,
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I want to do something that really matters. Because a
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lot of times when people talk about we are the world,
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they talk about it like it well, it just happened,
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and it was inevitable, like it was something spontaneous, some
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spontaneous explosion of goodwill. And it wasn't. It was carefully built.
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It was deliberate by specific people who made specific choices
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and who worked very hard. And yes, it all started
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with Harry Belafonte, who wasn't reacting emotionally or impulsively. He
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just saw the famine Ethiopia, saw the impact of band
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Aid in the UK, and asked, why can't we do
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it with an even bigger reach. He didn't want a
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benefit concert, he didn't want speeches. He wanted something direct,
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a song in a moment to last an eternity. And
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to make that real, he brought in an entire crew,
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an entire team of people. He brought in Lionel Ritchie,
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who agreed to help on one condition that the song
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had to be strong enough to live in its own
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without guilt or pressure attached. Richie partnered with Michael Jackson,
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who developed the melody quietly and intentionally. To hold a
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room together, they brought in Quincy Jones, who understood immediately
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that this wouldn't fail musically, it would fail socially if
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egos weren't managed. And to make the entire thing function
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with scheduling, outreach organization, and the creation of USA for
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