The 40th Anniversary of Live Aid

Summary

Summary of "The 40th Anniversary of Live Aid" Episode from ALL OF IT by WNYC

Podcast Information:

• Title: All Of It
• Host/Author: WNYC
• Episode: The 40th Anniversary of Live Aid
• Release Date: July 18, 2025

Introduction

In the 40th-anniversary episode of ALL OF IT, hosted by David Fuerst in place of Alison Stewart, listeners are taken on a nostalgic and analytical journey through the monumental Live Aid concert of 1985. The episode features an in-depth conversation with filmmaker Tom Pollard, the director of the four-part documentary series "Live Aid: When Rock and Roll Took on the World". This series examines the birth, execution, and lasting impact of Live Aid, exploring its significance in celebrity-driven activism and humanitarian efforts.

Live Aid: A Cultural Phenomenon

The episode begins with David Fuerst introducing the topic, highlighting how Live Aid was sparked by BBC correspondent Michael Burke's 1984 report on the Ethiopian famine. This report deeply moved Bob Geldof, lead singer of the Boomtown Rats, leading him to organize the charity single "Do They Know It's Christmas?" and eventually the global concert Live Aid.

Tom Pollard reflects on Live Aid's enduring presence in public consciousness, noting, “[...] it was so much in the consciousness of people, I think especially music fans. It does feel like it wasn't that long ago, but yeah, it has flown by.” ([02:46])

Bob Geldof and the Driving Force Behind Live Aid

A significant portion of the discussion centers on Bob Geldof’s pivotal role. Pollard describes Geldof as "a very driven man" with "anger and passion" that fueled the initiative. He emphasizes that without Geldof and his wife Paula Yates, along with their connections in the music industry, Live Aid might never have materialized.

“[...] he is a very, very driven man. And there’s anger and there’s passion there.” ([04:03])

Pollard also highlights Geldof’s outspoken nature, which, while sometimes abrasive, was instrumental in mobilizing celebrities and the public alike.

The Technical Marvel of Live Aid

The episode delves into the logistical challenges of coordinating a simultaneous global concert in 1985. Pollard marvels at the technical achievements, describing the broadcast as “a technical marvel at the time” ([09:10]). Live Aid was broadcast from London’s Wembley Stadium and JFK Stadium in Philadelphia, with connections also reaching Australia and Russia—remarkable feats given the pre-internet era.

Phil Collins’ dual performances exemplify the concert’s complexity. Collins famously performed at both venues by flying on the Concorde, showcasing the coordination required to synchronize performances across continents.

Personal Memories and Listener Contributions

Listeners are invited to share their personal memories of Live Aid, bringing a human element to the historical narrative. Stories range from watching the concert with family and friends to unique encounters with musicians.

Angus from Jersey City reminisces about watching the concert with parents unaware of the artists, leading to generational bonding moments:

“They were just amazed at, you know, both the technological thing that they’re watching that’s live, but also they were, they were just... a pretty special event.” ([11:51])

Charles, an immigration officer at JFK Airport, shares a memorable encounter with Phil Collins:

“He was extremely exhausted... they took him off the plane and took him to Philadelphia.” ([15:12])

These anecdotes underscore the widespread impact and personal significance of Live Aid across different demographics.

The Legacy and Impact of Live Aid

The discussion transitions to the enduring legacy of Live Aid. Pollard notes that while Live Aid successfully raised millions and heightened global awareness about famine relief, its influence extended beyond immediate fundraising.

“They raised a lot of money and they raised a lot of awareness. [...] neighboring countries are going through similar things and we'll have.” ([24:04])

The documentary series sheds light on how Live Aid set a precedent for celebrity-driven humanitarian efforts, influencing future initiatives and public expectations of activism.

Modern Perspectives and Criticisms

The episode addresses contemporary critiques of Live Aid, particularly focusing on songs like "Do They Know It's Christmas?" by Band Aid. Listener Nicole from Red Bank, New Jersey, criticizes the song for its "white savior" narrative and inaccurate portrayal of Africa.

Pollard responds by contextualizing the time, explaining that the song aimed to highlight Western excesses compared to lack in Africa, though acknowledges that modern perspectives find some lyrics offensive:

“I think Bob's defense would be that the question was not directed there. [...] a more naive time [...] those lyrics now can be deemed as offensive or crass.” ([22:11])

This segment illustrates the evolving understanding of cultural sensitivity and the complexities of humanitarian messages.

Changing Landscape of Music and Activism

The conversation touches on why a Live Aid-like event may be unfeasible today. Pollard suggests that changes in technology and the music industry have altered how artists engage with global issues:

“The music landscape has changed. [...] but there are still artists out there that do want to use their voice and their audience to reach in a good way.” ([19:37])

Bob Geldof himself has expressed skepticism about repeating such an event, noting that the world’s context has shifted significantly since 1985.

Conclusion

As the episode wraps up, it emphasizes the multifaceted legacy of Live Aid—both its triumphs and its criticisms. Live Aid remains a landmark event in the history of music and humanitarianism, symbolizing the power of collective action and celebrity influence. The episode invites listeners to reflect on how such initiatives have shaped their understanding of global issues and the role of culture in addressing them.

Pollard’s closing thoughts encapsulate the enduring relevance of Live Aid:

“I hope that we illustrate that in the series that it was a different time [...] it was an incredible thing to do.” ([24:43])

Listeners are encouraged to watch the documentary series for a comprehensive exploration of Live Aid’s creation, execution, and lasting impact.

Notable Quotes

• Tom Pollard: “[...] he is a very, very driven man. And there’s anger and there’s passion there.” ([04:03])
• Angus: “They were just amazed at, you know, both the technological thing that they’re watching that’s live...” ([11:51])
• Phil Collins’ Story: “Yeah, yeah, yeah, yeah...” ([17:30])
• Nicole: “This is the most disgusting white savior song that you could possibly imagine.” ([21:05])

Final Thoughts

The episode serves as both a homage and a critical examination of Live Aid’s legacy. By blending historical analysis with personal recollections and contemporary viewpoints, ALL OF IT provides a nuanced narrative that honors the concert’s achievements while acknowledging its complexities.

For those interested in the intersection of culture, music, and humanitarianism, this episode offers valuable insights into how one event can shape global consciousness and inspire future generations.

Transcript

[Alison Stewart]

Foreign.

[David Fuerst]

You're listening to all of it. I'm David Fuerst in for Alison Stewart.

[Tom Pollard]

It's Christmas time.

[David Fuerst]

A new four part documentary series, live Aid When Rock and Roll Took on the World explores how a a pair of pop songs written for charity and then a massive last minute concert sparked a global push for humanitarian relief in Africa. It also started a decades long debate about the roles of government and celebrity in foreign aid. In 1984, BBC correspondent Michael Burke shocked viewers with his report on devastating famine in Ethiopia. That footage in that report sparked a Frank, excuse me, a frantic effort by Bob Geldoff, lead singer of the Boomtown Rats, to organize the recording of a charity single. And then a global concert with celebrities like David Bowie, Phil Collins, Madonna, U2, Elton John and Queen. And the result was, yes, Live Aid, a global broadcast that raised millions of dollars for famine relief and became a defining moment in celebrity driven activism. 40 years later. The new CNN and BBC production revisits the cultural moment that gave rise to Live Aid and explore the legacy of one man's urgent push for humanitarian aid and the effect it had on governments around the world. The first episode premiered last Sunday on CNN and the series continues this Sunday night at 9. And director Tom Pollard joins us now to talk about Live Aid, when rock and roll took on the world and how the concert reshaped public perceptions of humanitarian responsibility tomorrow. Welcome to all of it.

[Tom Pollard]

Hi David, how are you?

[David Fuerst]

Great. And listeners, we would love to hear from you during this conversation as well. What are your memories from Live Aid? Did you watch it live? What was your favorite song? Maybe you just remember the feeling of the day. Give us a call, 212-433-9692. That's 212-433-WNYC or reach out on social media, all of it, WNYC. Tom, first of all, really, this was 40 years ago. I mean, I remember getting together with my friends down at the Jersey Shore and watching the Live Aid concert all day long on that summer day back in 1985.

[Tom Pollard]

Yeah, it's 40 years it seems, I think, cause it's so much in the consciousness of people, I think especially music fans. It does feel like it wasn't that long ago, but yeah, it has flown by.

[David Fuerst]

Well, if you want nostalgia, Live Aid, when rock and roll took on the world really delivers. There are plenty of mullets and you know, peak 80s fashion. But the series really centers on the trajectory of one man, Bob Geldof. He goes from lead singer of the Boomtown Rats, the band to the Driving force behind Live Aid. Can you give us a little bit of his backgr? How did he come to be so driven in making this happen?

[Tom Pollard]

I think you'll see, David, in the series that Bob is, was and remains a very driven man. And I think he was touched watching the Michael Burke report that you mentioned there, like, lots of us were that and would have been. I was young at the time, but, like, lots of people were across the globe. And he says he just felt that giving some money or donating clothes or whatever it might have been was just. He just felt it wasn't enough. And so he decided to get friends together, friends of his, then his wife, Paula Yates, who was the presenter on a music show here in the UK and decided to do the single. But I don't think at any stage he knew what that was going to become. I don't think there was no plan, There was no, well, what are we going to do next year if. If this raises X amount of money? And the expectations were always lower than what then happened and then the whole thing snowballed. But I think that Bob having interviewed him a couple of times now and having met him before filming, it's in his nature. He, he is a very, very driven man. And there's, there's, there's, there's anger and there's passion there. And I think that's what drove him and continues to drive him to this day. He's a Marmite character. David, not sure how much your listeners know of Bob, but, you know, he's at times very outspoken. But the one thing you cannot accuse him of being is not a passionate man that stood up and did something.

[David Fuerst]

Right. He doesn't always have that filter on, right?

[Tom Pollard]

No. I thought it was very funny that I was reminded both by your producer and in an email not to curse, which I found very ironic, considering that is one of Bob's character traits.

[David Fuerst]

Yes, that does come across very quickly in the documentary. Would Live Aid have happened without someone like him and his driving force and without really without Bob Geldof and Paula Yates and their, you know, their connections to the music industry?

[Tom Pollard]

No, I don't think would have, because, you know, as I say, a lot of people were impassioned to do something. He did something more. And I think as it then went on, I think then Live Aid wouldn't have happened without the US coming on the board and without the US single as well, you know, that, that did, you know, as I say, the whole thing snowballed so that it could be achieved in that time. And lots of people came together because they really felt that they could do something and raise some money and make a difference.

[David Fuerst]

The British single you're talking about is Do They Know It's Christmas? By the group known as Band Aid. Right. And then there was the American single you're referring to, We Are the World.

[Tom Pollard]

Yes. Which. Which did incredibly well and had a, you know, a huge stable of American stars on as well. So, yeah, that's then what. I think the success then of both singles meant that. And this is by no means to say it was an easy feat, because it certainly wasn't, but it did mean that. That you could connect the two. The two continents, which was always Bob's dream was to make it this. This big thing.

[David Fuerst]

I want to. Let's. Before we go any further, let's play a quick moment from the actual concert. This is a bit of Phil Collins. And as you're talking about connecting this global event, right, it takes this massive concert. Live Aid takes place in two locations, two primary locations, London and Philadelphia, in massive stadiums. And Phil Collins manages to be at both events in Philadelphia and in London. He takes the Concord across, right? And here's a little bit of him singing in Philadelphia. And as we're talking about this incredible global event, this is not. This was a technical technological marvel at the time, right? I mean, maybe today, putting together a concert like this, I'm not saying it would be easy, but people doing this back in 1985 had no idea if this was even going to be possible because these. These concerts were synced up and broadcast together as this unified whole.

[Tom Pollard]

Correct. Yeah, I. You know, it's the one. There are lots of sort of famous rock and roll stories on there that get sort of get bigger, as they get told. And I think this one, which you can't deny is. Is, as you say, that the technical feat and the first that this sort of thing was. And I hope that we. I hope that we illustrate that in. In the series that it was a. It was a different time, for lots of reasons. But, you know, one big thing was the. The technology. You know, this was before social media. Yeah. This was before big time, you know, and for good and for bad, you know, it was before social media, so. And it was, you know, other than the Olympics, you know, there'd never been something on. On this sort of scale. And as you rightly say, David, it was. Although the main part of the concerts were at Wembley in London and JFK in Philadelphia.

[David Fuerst]

Yeah.

[Tom Pollard]

There were still hookups to Australia and Russia which, again, seems quite strange in current climates. And so, yeah, it really was a first and everything was done on the telephone and by an old thing that your young listeners won't know called the fax machine. All right, which, which, which, let's go. You know, we're talking real analog, so. Yeah. And as you rightly say, that these are hard things to pull off. Now, I do festival coverage for different channels here in the UK and, and streaming a festival now in 2025 is, is no small feat. So, yes, in 1985, it really was an incredible thing to do. We're speaking even to get everyone there on time.

[David Fuerst]

Absolutely. We're speaking with filmmaker Tom Pollard about his new documentary series, When Rock and Roll Took on the World. Part One has already aired on cnn. Part two is coming up this Sunday night. If you would like to join this conversation. We're also talking about memories from Live Aid. Did you watch it live? Do you remember that day? Do you have a favorite song? Give us a call. 212-433-9692. That's 212-433-WNYC. And let's hear from Angus in Jersey City. Welcome to all of it.

[Angus]

Thanks so much. So I remember watching Live Aid from in New Zealand, and we were having dinner with some parents of a good friend of mine, and I had to be sort of rude in the middle of dinner and say, look, I've just got to watch this thing called Live Aid, which is happening. And they, and I sort of went into the other room and turned on the TV and all my friends, parents and their friends, you know, who are in their 50s and 60s, they came and, you know, sort of drifted in and sat down and watched it. And they were just amazed at, you know, both the technological thing that they're watching that's live, but also they were going, oh, you know, who's you two? Who's Elvis Costello? And they were. It was sort of a cross generational sort of bonding moment as well as just watching this amazing thing happening on the other side of the world. So it's a pretty special event. Yeah.

[David Fuerst]

Thank you for sharing, Angus and Tom, what about that? Those words ring very true for me, that cross generational moment. So many people were gathering together to watch this at the time.

[Tom Pollard]

Yeah, I mean, that also goes back to the point of 1985. There wasn't all of the choice of the channels. And so, yeah, the family, the family could sit around the TV for, you know, for the 16 hours and watch their favorite bands. And there was the mix of, you know, your Duran Duran's but then your Tina Turner and Mick Jagger. So it was the band's reunions like the Beach Boys and the who and Led Zeppelin. So it was, there was sort of something for everyone for sure.

[David Fuerst]

Big time. Yeah. If there's something that you didn't like was on, just wait another 10 minutes and there'd be another band coming up to check out.

[Tom Pollard]

Well, yeah, everyone was given a very strict time slot as well. So nobody, yeah, nobody was to wait too long. If you're, if you were waiting for your favorite act.

[David Fuerst]

Well, so yeah, we're going to take a quick break and continue our conversation with Tom Pollard talking about his new documentary series Live Aid, When Rock and Roll Took on the World. And we will take your calls. 212-433-9692. Share your memories of Live Aid, 212-433-WNYC. This is all of It on WNYC. This is all of it on WNYC. I'm David Fuerst in for Alison Stewart. We are talking about the four part documentary series Live Aid, when RO Took on the World along with director Tom Pollard. And we were just talking, Tom, about the Phil Collins moment, right. Where he performed in London and then took the Concord across and performed in Philadelphia. Managed to be in both places, both locations that day. And we have to take a phone call right now from Charles calling from near City Hall. Charles, welcome to all of it.

[Charles]

How are you doing? Am I on?

[David Fuerst]

Yes. Did you have a memory from that day?

[Charles]

Oh, yeah. Well, I'm a, an avid Phil Collins, Genesis, Peter Gabriel and Mike Rutherford. And I made it my point to I worked at the time Kennedy Airport as an immigration officer. So I made it a point to conduct the inspection. So I ran up on the woman, I walked up on the plane and we conducted the inspection and then they took him off the Concord, the inspection.

[David Fuerst]

On the Concorde when Phil Collins arrived.

[Charles]

Yeah, yeah. You know, he was exhausted. He was extremely exhausted. And you know, I went on there like a raving idiot, just, you know, oh, you know, pleasure to meet you. And you know, I've had the opportunity to meet all the guys from Genesis back in the day working for Immigration. But yeah, no, he, I made it a point and like I said, he was extremely exhausted and they took him off the plane and took him to Philadelphia.

[David Fuerst]

Yeah, Philadelphia. Well, Charles, thank you for sharing that memory and for, I guess for allowing that moment to happen. Tom, we all have Charles to thank.

[Tom Pollard]

That's a great, a great memory from Charles There. Yeah, Phil's bill was kind of everywhere at that time in 85 and having just not. Not long, not left Genesis. But they were sort of taking a break. And yeah, he, he, he. They tell a story. He tells the story in the documentary in. In episode three, if memory serves. They actually bumped into Cher on that. On that flight. And she didn't know what was going on and said to him, oh, what are you doing? And he was this big gig in Philadelphia. And she said, oh, do you think you could get me in? And Phil said, you share. I think you could probably. Could you. Could you knock on the back door of the JFK stadium and get in. But then you will see her in footage on stage for the finale at jfk, singing with Lionel Richie.

[David Fuerst]

So it worked.

[Tom Pollard]

So it worked.

[David Fuerst]

Let's take another call. We're sharing your memories of Live aid here on WNYC. 212-433-9692. Nicole in Red Bank, New Jersey. Welcome.

[Alison Stewart]

Hi there. I'm an ex Brooklynite, so good to chat with you all. I was 12 at the time, and I actually lived in the suburbs of Philadelphia. And my sense was that the entire world was, like, planning their day around where they're going to be. For Live Aid, we went to a neighbor's boat in Delaware. But for me, that set off, like, a whole understanding of things that were happening in the world. And as a young person, really introduced me to the problems in our world. And it just started an awareness in me that never went away. And it really helped inform my career choices and what I've done with my life and all the bands that kept up that awareness, not only of Africa, but of social issues. I mean, that concert really kicked off the careers in a bigger way of simple minds, of U2, et cetera, and they used their platforms to wake us all up. And it's really interesting now, like, when you talk to people who are now in their 20s. I just had a conversation the other night with a kid who just finished an AI internship in New York, and he's like, well, if you can't beat them, you're going to have to join them. And that's their attitude, right? And my attitude is like, no, you need to get out in the street and protest. So it's a really different view on the world that I think happened for young people as a result of the efforts at that time. And I'm really thankful to Geldof and to everybody, to Bono, to everyone who raised their voice and got us to tune in at a Young age.

[David Fuerst]

Tom, do you want to piggyback on some of, of that thought?

[Tom Pollard]

Yeah, it's a really, really interesting comments because I do think that I've been asked, and Geldoff has been asked whether you could do something like Live Aid again.

[David Fuerst]

Right.

[Tom Pollard]

And his response has been no, the world is a different place.

[David Fuerst]

In fact, he seems to suggest that popular music doesn't really have the same place in our lives.

[Tom Pollard]

Yeah. And I think, you know, as a, as a lifelong music fan, I think Bob has a point. I can't speak for a 20 year old now. I'm 46, so I can't speak for them. But you know, again, it goes back to the shared element of stuff. You know, you used to share. I used to share CDs with my mates. You know, you used to pass them around because you couldn't just go onto YouTube and listen to your favorite album or Spotify or whatever it might be. So the, the music landscape has, has, has changed. Well, for sure, but there, there, there are still, I think, artists out there that do want to use their voice and their audience, you know, the reach that they have to an audience in a good way. But it is different.

[David Fuerst]

I have so many questions and we have a lot of phone calls coming through. Let's try to get to a couple more calls. 212-433-9692. Let's hear from Ann in Queens. Welcome.

[Nicole]

Hi, how are you? Long time, first time.

[David Fuerst]

Great to have you with us.

[Nicole]

I was calling because I was a relatively woke 13 year old in New York City who had never really been anywhere at the time. But I loved hearing all my idols sing. Do they know it's Christmas time? I thought it was really deep and a really great thing to be doing and like just awesome and humanitarian. Of course now today I still love this song musically, but I listened to the lyrics and I'm like, this is the most disgusting white savior song that you could possibly imagine. It talks about Africa. Like not, you know, as we all know, Africa's a continent, not a country that says there's no rain, no rivers, who cares if they know it's Christmas time. But also the oldest Christian country in the world. One of them is Ethiopia. Like it's just so full of cringe. My children did not believe me that this was such a beloved song and that it was real and it really said those things until I played it for them. So I'm really curious if this comes up in the documentary, what do the artists think of it today and what do other fans think of it today.

[David Fuerst]

Oh, and you're bringing a lot to the table right now, Tom, jump in.

[Tom Pollard]

And quite, quite happy to answer your question. Yeah. And yes, we do. And it's worth pointing out that the the four part series isn't just about the concert. In fact, half of the four parter is probably about the concert and about Live Aid itself. But we talked to a number of Ethiopians that were serving in Mingisu's government at the time of the famine and they make that same point that Ethiopia is, you know, the oldest or one of the oldest Christian countries in the world. But I think Bob's defense would be that the do they know it's Christmas? Was not a question that was aimed at Ethiopians or any other country in Africa, but was aimed at the Western music buying public as a thing of look what we have and look what these people here have. They're not celebrating with a tree and presents around a Christmas tree. So the question was not directed there. But I do think that again, you know, I'm not here to excuse lyrics or anything at all, but I think it was a different sort of more naive time and I think you're right. You can look at those lyrics now and they can be deemed as offensive or crass. Yeah. And we do take that on.

[David Fuerst]

And you take a lot, as you're suggesting, you take a lot on in this series. And I hate to ask you a question like this when we have about 30 seconds left, but after making this series, what do you think Bob Geldoff and Live AIDS Legacy is? They did raise a lot of money.

[Tom Pollard]

They did raise a lot of, a lot of money and they raised a lot of awareness. I think to your previous caller, I think there are still these things are still going on 40 years later. I think, you know, neighboring countries are going through similar things and we'll have.

[David Fuerst]

To leave it right there. I strongly suggest you direct your further attention to the new four part documentary series Live When Rock and Roll Took on the World. It premiered last Sunday and the next episode airs this Sunday night at 9 on CNN. Tom Pollard, Director, thank you so much for joining us.

[Tom Pollard]

David, thank you very much. I hope people enjoy the series and.

[David Fuerst]

That'S all of it. Alison Stewart will be back on Monday. Have a Great Weekend.

[Ann]

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