Naumachia (detail), an imaginative recreation by Ulpiano Checa
A naumachia was
a mimic sea battle that oftentook place in a constructed basin. These entertainments also took place in
flooded amphitheatres. The opposing sides were prisoners of war or
convicts, who fought until one side was destroyed.
The earliest naumachia recorded (46 bc) represented an engagement between the Egyptian and Tyrian fleets and was given by Julius Caesar on an artificial lake that was constructed by him in the Campus Martius. In 2 bc Augustus
staged a naumachia between Athenians and Persians in a basin newly
constructed on the right bank of the Tiber at Rome. In the naumachia
arranged by Claudius on Lake Fucino in ad 52, 100 ships and 19,000 men participated.
The introduction of new technologies initially led to an increased number of naumachia. The first three naumachia
were spaced about 50 years apart; the following six, most of which took
place in amphitheatres, occurred in a space of 30 years. Less costly in
material and human terms, they could afford to be staged more
frequently. Less grandiose, they became a feature of the games, but
could not be considered exceptional. The iconography bears witness to this. Of some twenty representations of a naumachia in Roman art, nearly all are of the Fourth Style, of the time of Nero and the Flavian dynasty.
After the Flavian period, naumachiae disappear from the texts almost completely. Apart from a mention in the Augustan History, a late source of limited reliability, only the town records (fastia) of Ostia tells us that in 109 Trajan inaugurated a naumachia basin.
later version of the naumachia was practiced in indoor theatres, such
as London’s Sadler’s Wells, during the 19th century. A tank was
constructed in the pit and stalls areas, and real boats were used for
This illustration, “Labor Day 1899”, by cartoonist Clifford Berryman, appeared in the Washington Post on September 4, 1899, shows Uncle Sam and a schoolboy celebrating Labor Day by bowing before a worker sitting among his tools, representing farmers, laborers, and machinists.
On August 28, 1963 a quarter million people came to the nation’s capital
to petition their duly elected government in a demonstration known as
the March on Washington for Jobs and Freedom. Frustrated by the inaction
of a gridlocked Congress, the marchers called for Congress to pass the
Civil Rights bill.
This map was presented by the DC Chief of Police during hearings
relating to the March on Washington before the Senate Committee on
Appropriations, Subcommittee on District of Columbia. The map shows the
division of the area surrounding the March grounds into four zones to
aid communications and allocations of police manpower.
Hearing on H.R. 7431, Vol. 3, p. 2422-3; Committee on
Appropriations, Subcommittee on the District of Columbia; Records of the
U.S. Senate, Record Group 46; National Archives Building, Washington,
Ernie Terrell, who held a share of the heavyweight boxing championship in the 1960s but was best known for a title bout he lost in 1967 to Muhammad Ali, who taunted him throughout the brutal fight, died Dec. 16 at a Chicago hospital. He was 75.
His death was first reported by the Chicago Sun-Times. He had dementia.
The tall, rangy Mr. Terrell was one of the leading heavyweights of the 1960s, but he was overshadowed throughout his career by the charismatic Ali.In 1964, Ali — then fighting under his original name of Cassius Clay — won the heavyweight championship by defeating Sonny Liston. Soon after that fight, Ali publicly declared his allegiance to the Nation of Islam and asked to be recognized by his Muslim name.
Later that year, the World Boxing Association — one of several sanctioning bodies for boxing — deprived Ali of his heavyweight crown after a contract dispute regarding a rematch with Liston. Mr. Terrell claimed the vacant WBA title on March 5, 1965, by winning a unanimous decision over Eddie Machen.
Mr. Terrell went on to defeat two top contenders, George Chuvalo and Doug Jones, running his record to 39-4.
Nevertheless, most observers considered Ali the true heavyweight champion. Ali went through one opponent after another, delivering a particularly harsh beating to former champion Floyd Patterson in November 1965 after Patterson refused to use Ali’s Muslim name.
Ali and Mr. Terrell agreed to unify the title at the Houston Astrodome on Feb. 6, 1967. The fight came at a time when Ali was under fire from political figures and others for his refusal to be inducted into the Army.
Mr. Terrell had known Ali since they were amateur boxers in the 1950s, and they had once sparred together. Whether out of habit or provocation, Mr. Terrell repeatedly called his opponent “Clay” before their fight. (Most newspapers and magazines at the time also referred to Ali by his earlier name.)
“My name is Muhammad Ali, and you will announce it right there in the center of that ring after the fight, if you don’t do it now,” Ali told Mr. Terrell as Cosell stood between them.“You are acting just like another old Uncle Tom, another Floyd Patterson,” Ali continued. “I’m going to punish you.”With the cameras rolling, the two fighters began to remove their jackets and cock their fists before bystanders stepped between them.
“I wasn’t trying to insult him,” Mr. Terrell said in Thomas Hauser’s book, “Muhammad Ali: His Life and Times” (1991). “He’d been Cassius Clay all the time before when I knew him.”
Mr. Terrell thought Ali’s outrage was staged, part of a publicity stunt to promote the fight. But once the bell rang in Houston, it was clear that Ali was not joking. Over and over, he shouted, “What’s my name?” before delivering one damaging blow after another.
In the third round, Mr. Terrell sustained an injury to his left eye that left him with double vision. He stayed on his feet throughout the 15-round fight, but he was crouched over, with his hands covering his face, unable to take advantage of his long reach and 6-foot-6-inch height.
“From the eighth round on, Terrell was virtually helpless,” Hauser wrote in his book. “And from that point on, Ali taunted him mercilessly. Time and again, he shouted, ‘What’s my name,’ and followed with a burst of blows to Terrell’s eyes. ‘Uncle Tom! What’s my name! Uncle Tom! What’s my name!’ ”
Blood oozed down Mr. Terrell’s face, and both eyes were swollen almost shut. Many spectators among the crowd of more than 37,000 called for the fight to be stopped, but the referee, Harry Kessler, did not intervene.
After the bout, which Ali won by unanimous decision, Sports Illustrated writer Tex Maule described it as “a wonderful demonstration of boxing skill and a barbarous display of cruelty.”
Mr. Terrell maintained that Ali illegally gouged his eye early in the fight, causing a blood vessel to burst. Afterward, Mr. Terrell underwent surgery to repair a broken bone under his left eye.
“I’m not apologizing for whipping him,” Ali said at the time. “I’m out to be cruel, that’s what the boxing game is about.”Within months, Mr. Terrell had recovered enough to resume his career, but after losing two fights in succession he temporarily retired.
Ali had one more fight in 1967, a knockout victory over Zora Folley, before he was convicted of draft evasion, and his championship was taken away. He was 27 and at the peak of his abilities, but the undisputed heavyweight champion would not be allowed to box again for more than three years.
Ernest Terrell was born April 4, 1939, near Belzoni, Miss. He was one of 10 children in a sharecropping family that later moved to Chicago.
Mr. Terrell began boxing in his early teens, working as a hotel elevator operator to help pay his gym fees. He was a two-time Golden Gloves amateur champion in Chicago before beginning his professional career in 1957.
He also had a strong interest in music and taught himself to play guitar. He started a band, Ernie Terrell and the Heavyweights, that appeared on “The Ed Sullivan Show” and Johnny Carson’s “Tonight Show” in the 1960s. His sister, Jean Terrell, was part of the group before replacing Diana Ross as lead singer with the Supremes in 1970.
Mr. Terrell returned to the boxing ring in 1970 and fought until 1973, retiring with a record of 46-9. He never had another shot at the heavyweight title.
He worked as a music producer and boxing promoter and, for years, ran a successful janitorial business in Chicago, with hundreds of employees. He twice ran unsuccessfully for alderman in Chicago’s municipal government.
Survivors include his wife of 40 years, Maxine Sibley Terrell of Chicago; two stepchildren; three sisters; and four brothers.
Mr. Terrell was inducted into the World Boxing Hall of Fame in 2004. He did not apologize for the dispute that led to the rancor underlying his 1967 fight with Ali.
“We were fighting,” he told USA Today in 2009. “What was I supposed to do, give him Christmas gifts?”
Over time, however, the fighters reconciled and became friendly. In later years, Mr. Terrell always referred to his former opponent as “Ali.”
Thurgood Marshall was nominated as an Associate Justice of the Supreme Court by President Lyndon B. Johnson on June 13, 1967. Following his confirmation, Marshall became the first African American to serve on the Supreme Court. His nomination followed a long and distinguished career as a prominent civil rights lawyer, and he argued more than 30 cases before the Supreme Court, including the famous and influential case Brown v. Board of Education of Topeka.
John Hejduk’s ‘Victims’ project – an AA publication from 1986. An architectural performance of 67 structures planned over 60 years, on the razed site of a Nazi torture chamber in Berlin, investigating a cryptic and negative architectural representation of loss, memory and the passage of time.
1. Horticulturist; 2. Gardener; 3. Rosewoman; 4. Metalman; 5. Park Attendant; 6. Inhabitants; 7. Drawbridge Man; 8. Trolley Man; 9. Mechanic; 10. Operator; 11. Children JJ; 12. Children SP; 13. Children SB; 14. Children S; 15. Children MGR; 16. Children SP2; 17. Children SS; 18. Children PT; 19. Physician; 20. Nurse; 21. Optometrist; 22. Painter; 23. Musician; 24. Poet; 25. Soloist; 26. Musicians; 27. Dancer; 28. Librarian; 29. Typesetter; 30. Poem; 31. Mask Repairman; 32. Watch Repairman; 33. Paper Restorer; 34. Carpenter; 35. Plumber; 36. Shoe Repairman; 37. Clothman; 38. Crochet Lady; 39. Shade Woman; 40. Security; 41. Researcher; 42. Identity Card Man; 43. Stampman; 44. Accountant; 45. Keeper of the Records; 46. Giver of the Keys; 47. Taker of the Keys; 48. Iceman; 49. Fireman; 50. Zoologist; 51. Butterfly Collector; 52. Catfish; 53. Peacock; 54. People; 55. Child; 56. Judge; 57. Room for Thought; 58. Room of the Innocent; 59. Room for Those Who Looked the Other Way; 60. Passengers; 61. Toll Taker- Toll Taker II; 62. Time Keeper; 63. The Dead; 64. The Travellers; 65. The Exiles; 66. The Disappeared; 67. The Application
This cartoon by Clifford K. Berryman depicts the two big winners on New York’s Election Day, 1917 – Women’s Suffrage, and the Tammany Hall political machine, represented by the Tammany Tiger. While some states allowed women to vote, no national law guaranteed women that right until the 19th Amendment to the Constitution was ratified in 1920.
Tony’s a fast guy; he never sits still and he’s always
running out the door or onto a quinjet with little time for a proper goodbye.
So you’re always close behind, pressing a quick kiss to Tony’s lips as a
farewell or a greeting. It makes him smile, a small sense of normalcy in his
otherwise hectic world. Tony finds it cute, and somewhat domestic, which is what he loves about it. You use this kiss like a weapon as well, often quickly
kissing him to shut him up, or pressing a feather light one to wake him up in
the morning. It’s fleeting, but loving, and often times Tony makes a game out
of how many you can give him in a day. Your current record is 46, but you’re
both willing to try and break it.
Thor: Hand kisses
Thor is very back and forth between Midgard and Asgard, so
whenever he sees you, he always smiles like he’s seeing you for the first time.
He takes your hand in his, bringing it to his lips and pressing a soft kiss to
the back of it, saying graciously “My Lady,” with that precious look on his
face. Thor does this at any time he can, grazing his lips on your hand as a
sign of loyalty and respect. Whenever he catches you creasing your brows, or
pacing with uneasiness, he stands to face you, pulling your palms to his face
and kissing the center of it in reassurance. It makes your eyelids flutter,
feeling like a queen in his presence. Thor wouldn’t have it any other way.
Bucky: Jaw kisses
Despite the thin stubble Bucky always sports, you loving to
press kisses to the juncture between his neck and jaw. They’re normally light,
airy things, just a soft reminder that you’re there, and that you love Bucky
more than anything. You give them out quickly, often pressing one near his ear
when he takes off, as opposed to a cheek kiss. Bucky also likes giving them,
smiling widely as he leans down to your jaw, making you laugh as the pressure
intensifies there. It’s something the two of you have made your own, a casual,
yet achingly loving habit you can’t go a day without giving.
Peter: Hug and Kiss
Peter is generally too sweet for words, and the only gesture
that can encompass all those feelings is hugging him with all your strength,
followed by a tentative kiss to his lips. Peter grew fond of the this and
played along, often spinning you in his arms, what with his superhuman
strength. You’re always the first to initiate it, running to him at top speed
and slowing to make it easier to be caught. Peter’s grin is a brilliant flash,
like a camera, and then his head is buried in your hair, laughs escaping the
both of you. It’s a particularly welcome sight after long missions and tough
days at school, and you’re always ready to deliver. After he sets you down the
two of you just grin lazily, holding hands and kissing again, much softer this
time, as he whispers, “Missed you.” “Missed you more, Parker.”
Natasha: Neck kisses
Natasha’s favorite thing about you is your neck, so it only
makes sense that it’s her preferred place to kiss you. It’s something she has
access to, for your neck is almost always exposed at any given time. She often
presses them lightly to your throat if she’s feeling content and happy, her
head on your shoulder, T.V. on in front of you two. They can often be sultry as
well, a repeated peck being placed in one spot as she scratches you with her
teeth to gain your attention. It’s a gesture you find pride in dishing out as
well, leaving lipstick marks and bruises whenever you can to try and embarrass
her, but it seems the assassin has no shame. She walks proudly with her chin
high, adorning the bruises like badges.
Wanda: Air kisses
Wanda isn’t too huge on showing affection outside of
privacy, so instead of grand gestures, you find yourself blowing her kisses
from wherever you are, smiling softly and saying “love you.” It’s become a
signature now, and almost every time either of you enters or exits a room, you
kiss your hands, outstretching them. This even applies on battlefields, when
Wanda is far from you but still in sight, you send her one and she smiles, shaping
a heart with her glowing red hands. You’ve even done them while she’s away,
often asking “where’s Wanda?” only for Tony to explain that she’s away. You’ll
then kiss your hand and send a kiss straight up. “That’s for Wanda,” you say
aloud, causing your teammates to coo over your actions.
Steve: Forehead kisses
Steve is an old fashioned guy, and some of his flirting
techniques are a little outdated and too domestic for this century. But one
expression you took a liking to was forehead kisses, placed right above your
brow with firmness and closed eyes. It was a spur of the moment when Cap first
did it, throwing his shoulder around you after a mission and planting on right
in the center of your forehead. He’d thought for a second you hated the
gesture, but when you melted into his embrace he did it again. He’s made it a
tradition, kissing your forehead after every successful mission, as gratitude for
your safety. You like to return them when the soldier least expects it, like in
front of all the avengers or when he’s half asleep. No matter when you do it
his expression always softens, a serene smile gracing his lips.
Sam: Cheek Kisses
Sam’s a gentleman. He may not be a super soldier, or a Norse
god, but he’s a good guy all the same. He presses kisses to your cheeks when he
sees you, which he always goes out of his way to do anyways. They’re quick and
simple, unlike the ones you return. You’re always looking at Sam with something
akin to admiration, so whenever he kisses you grab his cheeks, peppering kisses
all across them quickly, watching his face flush and that lovely grin of his
spread across his face. He wasn’t used to it at first, but now he’s almost
expectant of it, often closing his eyes turning his face towards you. “You’re
full of shit, Sam Wilson,” you laugh, but oblige him nonetheless.
Clint: Nose kisses
It started as an accident. You missed Clint’s cheek completely, ending up hardly grazing your
lips on the tip of his nose. He had blinked back in surprise, but his whole
face turned red. “Did you mean that?” he laughed, but said nothing else of it.
He started giving them to you the day after, a rushed, hasty press on his lips
to your nose, an action that caught you by surprise. Now he does it whenever
he’s on the go, his first move to grab his bow, the second to kiss your nose.
You close your eyes and feel the soft pressure there, unaware of his adoring
gaze, but still basking in the feeling of warmth the action brings you. You
return the kisses when Clint is sitting down, using it as a way to acknowledge
that you see him; when you haven’t spoken yet, when you’re passing him for the
first time, and all those moments when words don’ seem to fit the mood. You
nonchalantly lean down and kiss his nose, and then keep going about your day as
though you’ve never stopped at all, tiny grins spreading on both your faces.
One hundred years ago on April 2, 1917, President Woodrow Wilson delivered this address to a special joint session of Congress and called for a declaration of war against
Germany. The resulting congressional vote brought the United States
into World War I.
On the heels of the German announcement to renew unrestricted submarine warfare
on February 1, 1917, the British, on February 24, revealedthe
Zimmerman Telegram. When Wilson released the message to the press on March
1, Americans were shocked and angered. With the support of his entire cabinet,
Wilson, who had been reelected in 1916 on the slogan “He kept us out of
war,” reluctantly concluded that war was inevitable. In his speech before
a special session of Congress, Wilson, as usual, took the moral high ground
and declared that not only had America’s rights as a neutral been violated
but that “The world must be made safe for democracy.” Americans
must fight “for the rights and liberties of small nations” and to
“bring peace and safety to make the world itself at last free.”
<b>Judy:</b> So, that's why I stopped at carrot #46. Almost beat the record too. *looks up at Nick, her head in his lap*<p/><b>Nick:</b> Huh. Weird story. Makes sense though. Too many carrots and you would've turned into one.<p/><b>Judy:</b> *laughs* That isn't possible, ya dork.<p/><b>Nick:</b> I know, I know. *smirks and plays with her ears softly, knowing it'll put her to sleep* Why do you always have to contradict the silly stuff I say?<p/><b>Judy:</b> Because it's fun. *yawns, falling asleep*<p/><b>Nick:</b> Figures. Little Ms. Smartypants... It's a good thing you're adorable. You know, one day I'm gonna say something kind of off-the-wall, and someone somewhere will prove it. And then you'll be... Carrots?<p/><b>Judy:</b> *wakes up suddenly, only one eye somewhat open* Huh? Did you say something Nick?<p/><b>Nick:</b> *laughs softly* Nevermind, Carrots. Go back to sleep.<p/></p>
I loved your sherlolly at hogwarts promt,pleaseee give me more. Pleaseeeeeeeeee pleaseeee
Oh, okay Nonny. You’ve pulled my leg. I’ll do it. (I kid; I adore Potter!lock.)
There had only been one previous occasion in which the Triwizard Tournament had found itself with four champions. Considering that the Dark Lord had returned on that occasion, no chances were taken when the Goblet of Fire spat out another that dangerous fourth name. Weeks of inquiries and investigations took place, and during that time, the four champions began to strike up a bond of some kind.
'We Are the World' at 30: 12 tales you might not know
The all-star recording session for We Are the World, the biggest charity single of all time, took place 30 years ago Wednesday.
On Jan. 28, 1985, at A&M Recording Studios in Hollywood, following the
American Music Awards, more than 40 artists gathered to record a song
Lionel Richie and Michael Jackson had written to raise awareness of
widespread, life-threatening poverty in Africa. Most of that show’s
winners — including Cyndi Lauper, Hall & Oates, Bruce Springsteen,
Huey Lewis, Willie Nelson, Tina Turner, the Pointer Sisters, Kenny
Rogers and the Jacksons — participated.
Inspired by the U.K. all-star charity single Do They Know it’s Christmas?, released a few months earlier, We Are the World
was released March 7, 1985, and went on to sell more than 20 million
copies. The more than $75 million raised by non-profit organization USA
for Africa helped to fight poverty on the continent. The song also won
three Grammy Awards in 1986, including song and record of the year.
great song lasts for eternity,” says Quincy Jones, who produced the
track. “I guarantee you that if you travel anywhere on the planet today
and start humming the first few bars of that tune, people will
immediately know that song.”
Here are 12 things you might not know about the song and the recording session:
Stevie Wonder, not Michael Jackson, originally was supposed to be Richie’s co-writer.
was really trying to get in touch with Stevie and couldn’t do it,”
Richie says. “Stevie was touring a lot. He was doing a lot of stuff.” A
phone call with Jones got him and Jackson involved. “I got Michael
before I could get Stevie,” Richie says. “We said, ‘If Stevie calls me
back, we’ll get him in. In the meantime, I think we can get it done with
Richie and Jackson listened to national anthems to get in the proper frame of mind to write.
didn’t want a normal-sounding song,” Richie says. “We wanted bombastic,
the biggest thing you got.” Knowing they needed to create something
that immediately sounded important and had global appeal, they prepped
for their songwriting sessions by listening to national anthems from
several countries, including the USA, England, Germany and Russia. “We
put all that into a pot in our heads and came up with a rhythm that
sounded familiar, like a world anthem. We wanted people to feel like it
was a familiar song. Once we got that — show business, man.”
The We Are the World recording session caused Richie to forget the American Music Awards.
it was just sleep deprivation — after all, the session began at 9 p.m.
and lasted 12 hours — but Richie claims to have no memory of hosting
that night’s American Music Awards ceremony and winning five
awards, including favorite pop/rock male artist. “I walked through that
door, and I forgot I had done that,” he says. “The group of people in
that room was so mind-changing. There’s Bob Dylan, Billy Joel — give me a
freaking break. I had never in my life experienced anything like that.”
It may have been a massive gathering of celebrities, but few other people knew the session was taking place.
of the singers arrived in limousines, having just come from the awards
show, but not everybody showed up in style. “I think Bruce Springsteen
parked his truck in the parking lot of the Rite-Aid or a grocery store
that used to be across the street,” Richie says. “He parked over there
and walked in. He didn’t know you could come through the gate.” The
logistics of such a session would be exponentially more difficult in the
era of cellphone cameras and social media. “Today, you couldn’t keep
that a secret,” Richie says. “You’d have to have a full-on runway, and
everybody would have to check their phones.”
Most of the singers had never heard the song before walking into the studio.
did not have MP3s,” Richie says. “We had cassettes back then. We had to
send it to you, so most of them had not heard the song.” After all,
Richie and Jackson had just barely finished the song in time for the
initial tracking session held a week previous at Kenny Rogers’ studio.
Even Rogers hadn’t heard it: “We didn’t know what we were going to sing
until that night,” he says. Hall & Oates’ John Oates, who sang in
the backing choir, says, “It had the anthemic quality and the simplicity
of melody that made pulling off a giant ensemble like that very easy to
do. And it was a room full of amazing singers, so that wasn’t exactly a
The choir roster had its roots in Donna Summer’s State of Independence.
The choir for Summer’s 1982 hit,
which Jones produced, included Jackson, Richie, Wonder, James Ingram,
Kenny Loggins and Dionne Warwick, all of whom also appeared on We Are the World.
“I was on familiar ground,” Jones says. “If I hadn’t worked
individually with over half of these singers before, there was no way I
would’ve signed on.”
As one of the song’s writers, Richie got dibs on his solo line.
said, 'Now, Lionel, where would you like to come in?’ ” Richie recalls.
“I said, 'Are you kidding me? I’m coming in first, so I can get out of
the way!’ ” According to Richie, the session’s secret hero was Jones’
vocal arranger, Tom Bähler. Before the session, he had listened to the
recorded output of each of the soloists, determined their vocal ranges,
then identified which melodic phrases best suited their registers. “The
parts they assigned fit the vocalists really well,” Rogers says. “I
couldn’t have done the stuff that was done at the end that Steve Perry
did. They were incredibly well-laid-out.”
When Ray Charles spoke, everybody listened.
Charles, being who he was, commanded a certain deference and respect
from everyone, even though he didn’t assert himself in any weird way,”
Oates says. “He was just standing in the middle, doing his part. Lionel,
Michael and Quincy were running the show. It was their song, their
production, and everyone was very respectful, trying to make it happen.
There were moments when people — and I will not name names because it’s
not worth it — in the chorus started to put their producers’ hats on.
They started to say, 'What if we did this?’ and 'What if we did that?’
Coming up with ideas. It was obvious it was a complicated thing to pull
off in general, and having too many cooks in the stew would be a giant
catastrophe. Ray, every once in a while, would just pipe up: 'C'mon.
Hey. Let’s go. Listen to Michael. Let’s get this thing done.’ He was
there to sing, and he sensed that it could go south very quickly. He
commanded a lot of respect, and I thought that was very cool.”
Bob Dylan was nervous about singing his solo.
In a one-hour behind-the-scenes documentary produced to coincide with the release of We Are the World, there’s a surreal scene in which Stevie Wonder sits at the studio piano, imitating Bob Dylan to
Bob Dylan to help him get the phrasing for his “There’s a choice we’re
making” solo phrase. “Dylan turned to me and Stevie and said, 'How do
you want me to sound?’ Richie recalls. "We were all kind of doing it,
and we wanted to make sure we didn’t insult anybody.” Oates, who stood
directly behind Dylan while the chorus was recording, remembers him
being anxious about singing his solo. “He’s not a melodic guy, and it
was a very specific melody,” Oates says. “I think he felt uncomfortable
singing that particular melody, and he worked around it in his own way.”
participants autographed the first page of the sheet music for the song
'We Are the World,’ written by Michael Jackson and Lionel Richie. The
song was designed to raise awareness and funds for a worldwide hunger
relief program, and its international success led the way for the Live
Aid concerts later that year.
Kenny Rogers wanted to get everybody’s autograph.
we sang it all the way through and realized how well-thought-out it
was, we realized it was something special,” Rogers says. “So I took a
sheet of music from the session and started getting people to sign it.
Once I started, Diana Ross started, then everybody was running around
trying to get everybody. It’s framed on the wall of my house in
Atlanta.” Oates, who also got an autographed chart, echoes Rogers almost
word for word: “I have it framed in my studio in Colorado. When people
come in and see it, they freak. I made sure I got everybody. I even got
Ray Charles and Stevie Wonder to sign it. For once, I had the presence
of mind to do something like that, and it’s one of my most treasured
possessions.” Jones’ signed sheet music hangs in his den: “It always
makes me smile when I look at it and start reading those names.”
That “Check your egos at the door” sign turned out not to be necessary.
what Jones says. “Here you had 46 of the biggest recording stars in the
entire world in one room, to help people in a far-off place who were in
desperate need,” he says. “I don’t think that night, that experience,
will ever truly be duplicated again. I know and believe in the power of
music to bring people together for the betterment of mankind, and there
may be no better example of this than the collective that was We Are the World.”
USA for Africa is still around.
Thirty years after We Are the World,
USA for Africa still works on behalf of communities in Africa. Recent
initiatives have addressed climate-change issues, arts campaigns and the
shipment of medical supplies to Liberia and Sierra Leone to combat the
spread of ebola. Royalties from We Are the World continue to be
the organization’s primary source of funding. “We still earn, but
certainly not the kind of money we earned 25 years ago,” says executive
director Marcia Thomas, who joined the non-profit in 1986 to work on
Hands Across America, another USA for Africa initiative. “Our biggest
support in terms of where We Are the World is bought most frequently is not in the U.S. but other parts of the world, primarily Japan and Asia.”
We Are the World soloists, in order of appearance:
These people sang in the chorus: Dan Aykroyd, Harry Belafonte, Lindsey
Buckingham, Mario Cipollina, Johnny Colla, Sheila E., Bob Geldof, Bill
Gibson, Chris Hayes, Sean Hopper, Jackie Jackson, La Toya Jackson,
Marlon Jackson, Randy Jackson, Tito Jackson, Waylon Jennings, Bette
Midler, John Oates, Jeffrey Osborne, Anita Pointer, June Pointer, Ruth
Pointer and Smokey Robinson.
“One of the only things
regrettable about this whole 30-year anniversary is that Michael’s not
here to share his part of it,” Richie says. “There was a lot of
craziness happening with us and a lot of silliness. I’m just sorry he’s
not here to share it.”
As the threat of World War I looms, Uncle Sam pauses to consider the legacy of Abraham Lincoln on his birthday (born February 12, 1809) in this cartoon by Clifford Berryman, published 100 years ago in the Washington Evening Star on February 12, 1917.