By Peter Elman - Copyright Tribute Inspirations Limited

Tony Hollingsworth is a key world figure in the use of popular culture as a campaign tool for causes. He has produced nine of the world’s largest Global Broadcast Events plus Documentaries, Films, Concerts, Festivals, CDs and DVDs. His productions have profiled important issues and raised over $21m for causes including Amnesty International, the Campaign for Nuclear Disarmament, Red Cross, the Anti-Apartheid Movement and children’s charities in Southern Africa, India and Mexico. He has worked with more than 200 major artists from Dylan to Ravi Shankar, from Denzel Washington to Natalie Portman, from Wole Soyinka to Keith Haring, and almost all of the world’s major broadcasters from the BBC to Gostelaradio, from CBS to Globo, from SABC to NHK. His work has been supported by governments, major corporations and UN agencies and been attended by heads of state and royalty.

Hollingsworth is the executive producer of Tribute Inspirations Limited who hold rights in his previous productions and who are developing future global media projects for causes.

Tony Hollingsworth’s most renowned productions are two landmark global broadcast events for Nelson Mandela, the first calling for his release from an apartheid prison, the second celebrating it. The first, Nelson Mandela 70th Birthday Tribute at Wembley Stadium in June 1988, contained a vast array of music and film stars (83) and was perhaps the most politically influential of any music event held in the world [1]. The broadcast event, which was conceived, funded and produced by Hollingsworth [2], was televised in more than 65 countries to an estimated audience of 600 million (still the largest audience for an entertainment based event). It is regarded by many, including the Anti – Apartheid Movement, as raising worldwide consciousness of the imprisonment of Mandela and others by the South African apartheid government, of eradicating the label “terrorist” applied to him, and forcing the regime to release Mandela earlier than would otherwise have happened [3] [4] [5].

Eighteen months after the first event, with his release thought to be approaching, Mandela asked for Tony Hollingsworth to create a second broadcast event that would act as an Official International Reception for him to address the world [6]. Mandela was released in February 1990 after 27 years in prison and the event took place on April 16. He spoke for over half-an-hour as part of a four-and-a-half hour broadcast to more than 60 countries and an audience of 500 million.

Tony Hollingsworth had already helped manage the first seven CND Glastonbury festivals and organised several big festivals for the Greater London Council. These included two major Jobs for a Change festivals (attendance 150,000 and 250,000 respectively) aimed at showing that the GLC was helping to create jobs at a time of mass unemployment [7]; several smaller concerts for the unemployed; and two ethnic-minority concerts, one featuring African artists, the second a Bollywood show that filled London’s Albert Hall.

In March 1987, Tony Hollingsworth produced the four-day show of Amnesty’s The Secret Policeman’s Third Ball, co-producing a feature film and a set of two videos of the event [8].

After the Mandela broadcast events of 1988 and 1990, Hollingsworth put on seven spectacular global broadcast events some staged in iconic locations.

  • The Wall – Live in Berlin the largest ever theatrically staged show attracting a live audience of 350,000 and reaching 100 countries on television.  Staged on the site of Potsdamer Platz just after it was cleared for mines and the last remnants of the Berlin Wall were removed.  It featured stars of music and film in the Rock Opera The Wall written by Roger Waters.
  • The Simple Truth, Concert for Kurdish Refugees, a global broadcast in 36 countries raising $15m for the Red Cross’ work with Kurdish refugees after the first Gulf war.  Produced in just three weeks and staged in London, Amsterdam, Philadelphia and Sydney.
  • The Great Music Experience first broadcast to 50 countries, was a UNESCO-backed show featuring Japanese and Western musicians, staged at an 8th century Japanese Buddhist temple, Todai-ji, and featuring Bob Dylan, Jon Bon Jovi and Joni Mitchell. Three hour live broadcast and two one hour documentaries.
  • Guitar Legends, first broadcast in 45 countries then repeats in over 100, featured 27 guitarists in over 8 ½ hours and a one hour documentary in Seville to draw support for the city’s Expo ’92 from Keith Richards to Les Paul, from Roger McGuinn to Joe Walsh from Joe Satriani to George Benson and B.B King.
  • The Greatest Music Party in the World, first broadcast to 36 countries then repeats to 80. Sponsored by the Mars Corporation to reposition their brand Twix across Europe.  Featured 24 artists from David Bowie to Alanis Morissette, from Diana Ross to Rod Stewart.
  • Songs & Visions, broadcast live to 61 countries. Sponsored by Carlsberg for its 150th anniversary. Nine great vocalists sang together in duets, trios and quartets to sing the greatest hits from each of the 40 years from 1996 back to 1956.
  • Moscow’s 850th anniversary pageant in Red Square, featuring a cast of 1000 Russian classical, choral and folk music, and broadcast across the CIS countries and elsewhere.

Rights to the above projects are held by Tribute Inspirations Limited where Tony Hollingsworth is the principle Executive Producer.


Tony Hollingsworth was born in Letchworth, Hertfordshire, in July 1957, the fourth of five children. Both his parents were teachers, his father a headmaster and later a senior inspector of schools; his mother an infants teacher. When he was nine, the family moved to Grantham, Lincolnshire, where he disliked his new school, failed his 11-Plus examination and was sent to a technical school. At 16, he went to a further education college, gained an Ordinary National Diploma in technology and went to Bradford University, reading technology and management – “from a left-wing perspective”. He gained an MSc at Imperial College and took a job with Martin-Baker the world leading producer of ejector-seats for jet airplanes, but quit after three months because he was being asked to cut the staff by half. He soon won a three-year post-graduate scholarship to the Open University to research theories of ideology as applied to UK nationalisation.

Meanwhile, he was falling into the music industry. In 1978 he went on a camping holiday with his girlfriend to the farm of his mother’s cousin, Michael Eavis, in Glastonbury, Somerset. Eavis had been persuaded to allow a small outdoor concert of Moroccan musicians to be held on his land and Hollingsworth helped out. In 1981, Eavis asked him to help run a music festival whose profits would go to the Campaign for Nuclear Disarmament. As a CND marcher himself, Hollingsworth accepted, and for seven years to 1987 provided “management and financial structure” – as well as helping to get artists contracts signed, erect marquees and stages, organise a supply of food and medicine, build toilets and attempt to stop the use of drugs.

In late 1983, while still a researcher, he was approached by the Greater London Council (GLC) – through a contact on a socialist economics group – to help organise a "Jobs for a Change" festival for the Ken Livingstone-led authority the following summer. He became the key figure in the production of the festival, a second similar but bigger festival (attendance 250,000) the following year and several other concerts leading up to the abolition of the GLC on March 31 1986.

Most of Hollingsworth's later events have been produced under his Tribute brand.

Key concepts

Hollingsworth developed a growing belief during the production of the first GLC festival that the use of music and popular culture as a campaign tool had to be carried out in a positive rather than negative or protest manner. The message would work best if the atmosphere was “happy” and “celebratory” rather than “angry” and he insisted, successfully, that the music, film and theatre platforms were run in this way. Campaigns had to celebrate the positive. Hence, a few years he started to work under the brand Tribute.

The GLC festivals were regarded as a major success [9]. But by the time of the second, in mid-1985, Hollingsworth believed that he had gone about their organisation in the wrong way. Instead of simply putting on live festivals or concerts, hoping that press and television would pick them up, he should have sought to make television the main product, organizing television distribution beforehand, perhaps even making the TV programmes himself.

This was the most important ingredient that later lead to his global broadcasts for many campaigns. If a broadcast audience was the main target, then a campaign had to make its own programmes for TV and radio. These programmes would then be the zeniths of campaigns that run across all media and extend into a series of sell through products also made to carry the campaign message. By 1988 he used this methodology to reach a global audience of 600 million across TV, radio, press and video to call for Nelson Mandel’s release. 

Events produced by Tony Hollingsworth

GLC Jobs for a Change festivals, June 10 1984 and July 7 1985. Live. Tony Hollingsworth was the key person in setting up and producing the two festivals against a background of massive unemployment, a miner’s strike and the hardening of plans by the Prime Minister, Margaret Thatcher, to abolish the GLC and other metropolitan authorities. The festivals were set up because the GLC was worried that its initiatives to combat unemployment and help create and fund jobs were not getting across to a wider public.

The first festival attracted about 150,000 on a long stretch of the South Bank, taking in County Hall, the Royal Festival Hall, the Queen Elizabeth Hall, National Theatre and the National Film Threatre. It consisted of theatrical groups, film and film lectures (by director Ken Loach and others), speeches, a rolling debate in County Hall and stalls manned by community and other groups. The musicians appearing at the festival included The Smiths, Billy Bragg, Aswad, Hank Wangford, The Redskins, Gil Scott-Heron, Mari Wilson, Ivor Cutler and Misty in Roots. While The Redskins were performing, a group of National Front supporters who had been diverted by police from a march on Trafalgar Square stormed the stage, injuring a guitarist.

The second festival attracted an estimated 250,000 visitors to Battersea Park, south-west London [10]. Again, there was a wide range of activities. There were five music stages. The musicians included Ravi Shankar, Aswad, Billy Bragg, Hank Wangford, The Pogues, The Communards, The Opposition, The Blues Band, Frank Chickens, Thomas Mapfumo and OMD.

GLC Concerts for the Unemployed, 1985. Live. Hollingsworth produced several smaller concerts at town halls across London, showing “some of the best acts in the world…for a mere £2 entry fee for people with a UB40 [unemployment] card” [11].

Hollingsworth also produced two large-scale multi artist concerts for the unemployed. The first, at the Albert Hall on January 26 1985, was an international Jazz and African show featuring Abdullah Ibrahim (aka Dollar Brand), the South African-born jazz and blues pianist. The two other acts were flamenco guitarist Paco de Lucia and the African band Xalam.

The second was a Christmas Party for the Unemployed in two big-top marquees in Finsbury Park, north London. The musicians included Madness, Ian Dury, Imagination, Gregory Isaacs, Marc Almond and Billy Bragg. Hollingsworth and television producer Neville Bolt, who was soon to become his partner in the Elephant House production company, produced a video of the event, Burning the Boats, that included backstage interviews with artists attacking the use of drugs and was distributed by the GLC to schools [12].

GLC Miriam Makeba concert, September 28 1985. Live. The concert was booked and arranged over three weeks after the Royal Festival Hall management told the GLC it had a free date available – the last act of a long-running dispute between the two organisations on the RFH’s high-culture emphasis. The GLC told Hollingsworth it wanted “something different that represents our view of the world”. Hollingsworth flew in Miriam Makeba, who had not appeared in Britain for 11 years, with the Department of Employment providing work permits for her and her band just as they arrived at Heathrow.

Columbian Volcano Concert, February 9 1986. Live, Video. Hollingsworth was asked to help produce the concert in aid of a disaster fund for the Nevado del Ruiz volcano which erupted the previous November, killing 23,000 people. Artists including Annie Lennox, David Gilmour, Pete Townshend and Chrissie Hynde were brought together by Columbian musician Chucho Merchan [13].

GLC Evening of Asian Music, March 25 1986. Live. This Bollywood show was one of a number that the GLC funded to mark its abolition. Hollingsworth proposed the concert because the authority had done little for London’s large Indian population, bringing in an orchestra, singers and dancers from Mumbai. He sold the tickets through corner shops and newsagents in the local communities, providing free tickets in lieu of commission. The concert filled the Albert Hall, with many of the 6,000 crowd standing and singing or screaming through most of the three-hour show.

The Secret Policeman’s Third Ball. March 26-29, 1987. Live, Film, Video. This was the fifth Amnesty Secret Policeman ball, but the first for six years. Amnesty, which came up with the name, asked Hollingsworth to produce the shows and also a film and videos for world release. Hollingsworth also provided the risk finance.

Previous Amnesty balls had been mainly comedy, but this time there were four evenings (at the London Palladium), two for comedy and two for music. A 92-minute television and video highlights show was created from the four evenings, but two other videos, one for each genre, were also produced (by the Hollingsworth-Bold production company) as well as two vinyl records. Hollingsworth brought in the artists, with assistance on musicians from Paul Gambaccini, broadcast presenter and music critic, and with some comedians recruited by Paul Jackson, later controller of BBC entertainment.

The musicians included Mark Knopfler, Chet Atkins, Peter Gabriel, Bob Geldof, Jackson Browne, Paul Brady, Lou Reed, Kate Bush, Joan Armatrading, World Party, Duran Duran and Erasure. The comedy acts included Ben Elton, Lenny Henry, Spitting Image, Rory Bremner, Mel Smith, Griff Rhys-Jones, French and Saunders, Stephen Fry and Hugh Laurie with John Cleese, Hale and Pace and Phil Cool.

Nelson Mandela 70th Birthday Tribute June 11 1988. Broadcast live to 67 countries and 600 million people. The event was regarded by the African National Congress and the Anti-Apartheid Movement as successfully putting pressure on the South African government to release Mandela (see introduction). Most broadcasters showed live all 11-and-a-half hours of the Wembley Stadium event, the main exception being Fox Television in the USA, which showed six hours, delayed, in a heavily de-politicised version [14].

The event’s success [15] was largely the result of Tony Hollingsworth determining that it would be a musical tribute to Mandela, calling for his release, as opposed to a demand for the release of all prisoners and for the imposition of sanctions wanted by the AAM and ANC. This and his booking of a huge cast of top musicians and film stars ensured that the entertainment divisions of broadcasters around the world would sign up. Once they had contracted, the broadcasters could no longer allow their television and radio news divisions to refer to Mandela as a “black terrorist leader” - Hollingsworth's first campaign objective.

Several songs were geared towards the freeing of Mandela and others made relevant by the change of a few words or simply because of the context of the event. Notable songs included Biko (Peter Gabriel), Sun City (Steven Van Zandt), Free Nelson Mandela (Jerry Dammers), Mandela Day (Simple Minds), They Dance Alone (Sting), Talkin' 'Bout A Revoluion (Tracy Chapman), I Just Called To Say I Love You (Stevie Wonder), Brothers in Arms (Dire Straits) and Wonderful Tonight (Eric Clapton) [16]. Other musicians included George Michael, Whitney Houston, Eurythmics, Miriam Makeba, Hugh Masakela, Selif Keita, Youssou N’Dour and Jessye Norman.

Film stars who presented the acts included Harry Belefonte, who gave the opening address, Whoopi Goldberg, Richard Gere, Ali MacGraw, Daryl Hannah, Denzil Washington, Emily Lloyd and Jennifer Beals.

Looking East. November 7-9, 1989, East Berlin. Looking East was a media conference conceived by Hollingsworth to further business opportunities between television and music executives of the West and Eastern Europe. On the first day, the East German government resigned. On the last day, the communist party opened the gates of the Berlin Wall for people to cross over to the western sector, and demonstrators started hacking chunks out of the wall.

East Germanyhad several weeks earlier tried to call off the conference. Hollingsworth had agreed a deal with Reinhard Heinemann, head of entertainment in the East German government, after an introduction by Jack Rieley, former manager and part-time lyricist of the Beach Boys. Each side would invite speakers and 200 executives, with Hollingsworth organising and funding the western end.

Hollingsworth had gone a long way in organising his part of the deal when Heinemann took him aside to say that he had been ordered to stop working on the conference. However, this would not be announced but, critically, if East European executives said that they were coming, he would have to provide accommodation. Hollingsworth’s response was to telex senior television and music business executives throughout Eastern Europe, asking to meet them. He then flew out to invite them personally to the conference, telling them to telex their reply slips to Heinemann’s office. About 180 delegates from each side said they would come, forcing the government to accept that the event would take place.

Nelson Mandela: Tribute for a Free South Africa, April 16 1990. Broadcast live to 61 countries and 500 million people for the event’s full four-and-a-half hours. In asking for Tony Hollingsworth to organise and produce the show in November 1989 (see Introduction), Mandela made two requests: that he would be free to talk for as long as he liked; and he would not be edited by television. As with the first Mandela concert, worldwide television was key. It was agreed that the widest possible international coverage would be sought and that broadcast fees and gate money would be geared to the global broadcast event breaking even rather than making a profit.

Mandela’s lawyer warned that Mandela could not commit himself until he had got the approval of the ANC after he was released. The approval came three days after his release. Several weeks later, senior ANC members at a meeting in Sweden persuaded Mandela to withdraw because he should not be holding his international reception in “Thatcher’s Country” – a country whose government supported the South African regime. By this time, Hollingsworth had financially committed himself to the event. He had booked Wembley, which had been sold out, announced many of the artists and agreed deals with many of the broadcasters.

Hollingsworth’s views on the withdrawal were conveyed to Trevor Huddleston, the AAM president, who was due to meet Mandela for breakfast the following day. Huddleston told Mandela that he would resign if Mandela withdrew. Mandela had given his word to him and he, Huddleston, had given his own word to Hollingsworth. Mandela accepted he should be going to Wembley and the ANC gave its support [17].

The event was organised in a hurried 54 days after Mandela’s release from prison. Nelson Mandela spoke for 37 minutes – once an eight-minute ovation had ended. He called for sanctions against South Africa to be maintained and for people across the world to continue pressing for apartheid’s abolition [18] [19]. Musicians performing at the global broadcast event included Peter Gabriel, Neville Brothers, Geoffrey Oreyama, Jonas Gwangwa, Simple Minds, Tracy Chapman, Youssou N’Dour, Neil Young, Natalie Cole, Chrissie Hynde, Jerry Dammers, Johnny Clegg, Steven Van Zandt, Jackson Browne, Lou Reed, Manhattan Brothers, Neneh Cherry, Patti Labelle, Anita Baker and Bonnie Raitt.

The Wall: Live in Berlin21 July 1990. Broadcast live to 52 Countries and 300 million people. The Wall rock opera by Pink Floyd’s Roger Walters was staged on Potsdamer Platz, and attracted 250,000 people to an area that had been part of no-man’s land between the divided parts of Berlin seven months earlier.

Tony Hollingsworth cast the show with singers and actors taking the characters of the rock opera. The musicians included Cyndi Lauper, Joni Mitchell, Van Morrison, Sinead O’Connor, Bryan Adams, The Band, Hugh Masakela, The Scorpions, The East Berlin Rundfunk Orchestra and The Marching Band of the Combined Soviet Forces in Germany. The actors included Albert Finney, Marianne Faithfull, Thomas Dolby, Tim Curry and Ute Lemper.

Looking East and West.1990. Hungary. This media conference was a follow-up to that held in Berlin 12 months earlier, looking at how television and music executives between the West and Eastern Europe might work together. This time, with the communist bloc now fractured, the discussions were of a more pragmatic nature. This time, Tony Hollingsworth’s co-producer was Lazlo Hegedus, a Hungarian promoter and producer, who had approached Hollingsworth at the Berlin event. While the opening day of the Berlin conference coincided with the resignation of the East German government; the opening day of the Hungarian event – Thursday November 22 – coincided with the resignation of the British Prime Minister Margaret Thatcher.

The Simple Truth: A Concert for Kurdish Refugees. May 12 1991. Broadcast live to 36 Countries from Wembley, London, in the aftermath of the Gulf War. The BBC asked Hollingsworth to produce the event in three weeks, making use of BBC facilities. The broadcast used satellite links to tap into singers performing in Australia, the US, Holland, Japan and Manchester and included film on the plight of the Kurds as they fled into the mountains from Saddam Hussain’s troops.

It is thought that the BBC was pressed to hold the global broadcast event by the government. Jeffrey Archer, author and Deputy Chairman of the Conservative Party, said that the idea for the concert came from his teenage son, James (ref Independent). A major controversy followed when Archer Snr claimed that the Simple Truth charity he had set up – and the centre piece of which was the global broadcast event – had raised £57 million. The figure turned out to be a huge exaggeration – though no fraud was found – but the charity led to Archer being awarded a peerage [20]. According to Hollingsworth, who was not involved in handling the donations, seven countries ran appeals or telethons around the broadcast, raising $15 million for the Red Cross.

Musicians appearing at Wembley or via satellite link included Paul Simon, Rod Stewart, Sting, MC Hammer, Chris de Burgh, Gypsy Kings, Hall and Oats, INXS, Sivan Perwer, Tom Jones, Whitney Houston, Peter Gabriel, Sinead O’Connor and Gloria Estefan.

Guitar Legends. October 15-19 1991. Seville, Spain. Live. Broadcast first to 45 countries, then to 105 countries. The Expo ’92 organisers part-commissioned the concerts to position the city as an entertainment destination to draw support for Expo ’92 six months later. Five 90-minute shows and a one-hour documentary were broadcast. Hollingsworth had already developed the concept and format and had agreed a co-production deal with Spanish state television RTVE, but the organisation dropped out on the day the contract was due to be signed when the director-general (and film director), Pilar Miro Romero, departed the company.

Later, the organisers of Expo ’92 took on the project to help overcome the problem that Seville was being seen merely as a civil engineering project. They provided half the $7.2 million budget, with Hollingsworth raising the rest from television pre-sales. RTVE bought the Spanish rights, but paid only by giving television and radio airtime for advertising slots. Hollingsworth sold these on to Coca-Cola.

The event featured 27 top guitarists, including BB King, Brian May, George Benson, Joe Walsh, Keith Richards, Les Paul, Robbie Robertson, Robert Cray, Roger Waters, Albert Collins, George Benson and Steve Vai. The vocalists included Rickie Lee Jones, Bob Dylan and Joe Cocker.

The Great Music Experience. May 22 1994. Todai-ji, Nara, Japan. The three-hour concert was broadcast live to 50 countries, along with two one-hour documentaries showing western musicians getting acquainted with Japanese culture and rehearsing with Japanese musicians. Hollingsworth, who conceived and produced the show, asked western and Japanese musicians to work together, with western musicians producing music influenced by Japanese culture. The event took place at an eighth century Buddhist temple, the largest wooden building in the world and containing the largest Buddha statue in the world.

Hollingsworth had developed the concept earlier to overcome western hostility towards the Japanese economic success story – although by early 1994 the bubble had burst. The show was supported by UNESCO. The musicians included Bob Dylan, Joni Mitchell, Ry Cooder, The Chieftains, Jon Bon Jovi, INXS performing with two Buddhist Temple Choirs, Shoukichi Kina, Tomoyasu Hotei, Yoshiki and X Japan. There were also two orchestras – the Tokyo New Philharmonic Orchestra and a sixth century-style Japanese Orchestra directed by Ryuhong Jun.

The Greatest Music Party in the World. December 13-17, 1995 [21].  Birmingham. Broadcast to 36 countries. Broadcasters took one of two programmes, one lasting three hours, the other 90 minutes, filmed from a five-day live show staged at the UK’s National Exhibition Centre. The project was commissioned by Mars Corporation to reposition its confectionery brand Twix across Europe. The musicians included Diana Ross, Rod Stewart, Eternal, Shaggy, Lightning Seeds, Alanis Morissette. Back Street Boys, Des’ree, Soul II Soul and David Bowie.

Songs & Visions. August 16 1997. Wembley, London. Broadcast live to 61 countries. The Carlsberg brewery approached Hollingsworth to produce an event for its 150th anniversary – and he made use of a concept he had already been working on – asking musicians to work together in duets, trios or quartets to sing a hit from each of 40 years (in this case, moving backwards from 1996), against a background of images from the year of the song. Carlsberg used the material for different promotions in different countries.

In the UK, Hollingsworth was turned down by Channel 4, but BBC 1 showed the concert in the Match of the Day slot on Saturday night, giving it a 38-per-cent audience share at the beginning, rising to 45 per cent at the end.

The musicians, working under the direction of Stewart Levine, included Rod Stewart, Jon Bon Jovi, Seal, Toni Braxton, K.D Lang, Chaka Khan, Robert Palmer, Steve Winwood, Yazawa and Mary J Blige.

Moscow’s 850th Anniversary Pageant: Saint George, The Bell and The Dragon. September 5 1997. Broadcast live to CIS Countries. The show, staged in Red Square in front of St Basil’s Cathedral, opened Moscow’s weeklong anniversary celebrations. It featured a cast of a thousand (plus horses), with Russian classical, choral and folk music and dance. Large-scale graphics were used to depict scenes from Moscow’s past. The pageant was commissioned by the mayor of Moscow, Yuri Luzhkov, and Hollingsworth was brought in as co-international executive producer because of his record of staging complex live shows. Andrei Konchalovsky, the renowned Russian film director, was creative director.

Bumps in the road

Hollingsworth and the companies he has run, have only been in court twice since he started producing in 1981. This is surprising given the enormous number of contracts involved in each project.  The first case, in a UK court in 1992, was initiated by a Polish Company. The judge threw the case out after a few days and later the Polish Company was found to have been involved in a major banking corruption case in its home country.  The second case was far more difficult and costly for Hollingsworth.  It was a case initiated by the CEO of the Singapore Tourism Board Major General Neo Lim Chian (Chief of the Singapore Army 1992-95) and was under Singapore Law and in the SingaporeCourts.  Singapore is a small country of approximately five million and is not a democracy.  Hollingsworth lost the case in Singapore in 2007 but later a review of the matter by a leading UK lawyer and Queens Counsel, Bruce Mauleverer, said:  
“In overall summary my view is that there were such serious errors in the Judgment that it should have been set aside. It is unfortunate that the Court of
Appeal uncritically adopted the Judge’s findings of fact, apparently without any independent analysis or any consideration of the flaws highlighted in this
Opinion and convincingly deployed in the Appellants’ written Case. In my view theright Order would have been for the Court of Appeal to order a new
trial before a different Judge”.
Bruce Mauleverer QC was recorder of the Crown Court 1985-2004, Deputy Judge of the High Court 1992-2004, Head of Chambers 1992-2000; Vice-President of International Social Science Council (UNESCO)1998-2000), Honorary Secretary General International Law Association 1986-93 (Vice-Chairman 1993 - present).  
In 2008 Hollingsworth was diagnosed with cancer which knocked him out of play for over a year. He is now clear of this last “bump in the road”.

List of Hollingsworth productions and campaigns

1981-1987 Manager, Glastonbury CND festivals

1984 (Jun 10) Producer, Jobs for a Change festival, GLC, South Bank, London

1985 (Jan 26) Producer, Jazz Festival (incl Abdullah Ibrahim), GLC Jobs Year 85, Albert Hall

1985 (July 7) Producer, Jobs for a Change festival, GLC, Battersea Park, London

1985 (Jan-Dec) Producer, weekly concerts for the unemployed, GLC, various London town halls

1985 (Sep 28) Producer, Miriam Makeba Concert (GLC), Royal Festival Hall, London

1985 (Dec 21) Producer, Christmas Party for the Unemployed, GLC, Finsbury Park, London

1986 (Feb 9) Co-producer (show) Columbian Volcano Concert (disaster fund), Albert Hall

1986 (Mar 25) Producer, Evening of Asian Music, GLC, Albert Hall, London

1987 (Mar 26-29) Producer (show), co-producer (film) The Secret Policeman’s Third Ball, London Palladium

1988 (Jun 11) Producer, Nelson Mandela: 70th Birthday Tribute. Wembley, London. Worldwide broadcast

1989 (Nov 7-9) Organiser, Looking East media conference, Berlin

1990 (Apr 16) Producer, Nelson Mandela: An International Tribute for a Free South Africa. Wembley, London. Worldwide broadcast

1990 (Jul 21) Producer, The Wall: Live in Berlin. Worldwide broadcast

1990 (Nov 22-25) Producer, East-West second media conference, Hungary

1991 (May 12) Producer, The Simple Truth: A Concert for Kurdish Refugees. Wembley, London. Worldwide broadcast

1991 (Oct 15-19) Producer, Guitar Legends. For Expo 92. Seville, Spain. Broadcast worldwide

1994 (May 20-22) Producer, creator, The Great Music Experience. Unesco/UN. Todai Ji, Nara, Japan. Broadcast worldwide

1995 (Dec 13-17) Producer, creative director, The Greatest Music Party in the World. NEC, Birmingham. Broadcast worldwide

1997 (Aug 16) Creative director, Songs & Visions. Wembley, London. Broadcast worldwide

1997 (Sep 5) Co-exec-producer, Moscow’s 850th Anniversary Pageant. Broadcast across CIS


  1. ^Denselow, R (1990) When The Music's Over: The Story of Political Pop, p276. Faber and Faber. ISBN 0-571-13906-X
  2. ^Letter from Mike Terry, Executive Secretary, Anti-Apartheid Movement, January 18 2003: "...he performed multiple roles of creator, risk taker, executive producer, producer and artists recruiter. He never claimed such an array of titles nor pushed himself in front of the media preferring to let the media focus on the cause at hand."
  3. ^Letter from Mike Terry, Executive Secretary, Anti-Apartheid Movement, January 18 2003: "Before the first event, the prospect of Nelson Mandela's imminent release from prison seemed completely unrealistic. Yet within 20 months he walked free and I have no doubt that the first event played a decisive role in making this happen. This was implicitly acknowledged by Nelson Mandela, himself, by his decision to participate in the second event."
  4. ^Letter from Archbishop Trevor Huddleston, President of the Anti-Apartheid Movement, July 12 1995: "The result of his efforts helped to generate the pressures which secured the release of Nelson Mandela."
  5. ^ANC website message: "...the worldwide campaign for the release of Nelson Mandela and political prisoners made a decisive contribution...One event in particular symbolised that campaign - the 'Nelson Mandela 70th Birthday Tribute'...The ANC owes an enormous debt of gratitude to the artists and performers and all those who made that event possible...
  6. ^IMDb reference to second Mandela concert, April 16 1990
  7. ^Hoyland,J. (1987) Reggae On The Rates: The "Jobs for a Change Festivals", p370, from A Taste of Power, Ed Mackintosh M, Wainwright H. Verso (1987). ISBN 0-86091-174-8.
  8. ^The Secret Policeman's Third Ball: (1) Music and (2) Comedy. Elephant House Productions for Amnesty International. Virgin Vision (1987)
  9. ^Hoyland,J. (1987) Reggae On The Rates: The "Jobs for a Change Festivals", pp373-397, from A Taste of Power, Ed Mackintosh M, Wainwright H. Verso (1987). ISBN 0-86091-174-8.
  10. ^Hoyland,J. (1987) Reggae On The Rates: The "Jobs for a Change Festivals", p372, from A Taste of Power, Ed Mackintosh M, Wainwright H. Verso (1987). ISBN 0-86091-174-8.
  11. ^Hoyland,J. (1987) Reggae On The Rates: The "Jobs for a Change Festivals", p375, from A Taste of Power, Ed Mackintosh M, Wainwright H. Verso (1987). ISBN 0-86091-174-8.
  12. ^Burning the Boats, GLC Production for the Anti-Heroin Campaign, 1986
  13. ^Columbian Volcano Concert video, NDRDAF/Eel Pie, 1987, Hendring
  14. ^Shirley, J. The Gauntlet, No.3, 1992, talking to Norman Solomon, co-author, with Martin Lee, of Unreliable Sources: A Guide to Detecting Bias in News Media, Lyle Stuart, Carol Publishing, 1990. ISBN 0818405619
  15. ^Denselow, R (1990) When The Music's Over: The Story of Political Pop, p280-281. Faber and Faber. ISBN 0-571-13906-X
  16. ^Nelson Mandela 70th Birthday Tribute video. Elephant House Production, Freedom Productions, CMV, 1989
  17. ^ANC website - concert-day message
  18. ^New York Times April 17 1990, online, on Mandela's speech
  19. ^ITN Source website: "...Mandela onto stage..."
  20. ^ August 16 2001: "Archer fraud allegations: the simple truth"
  21. ^IMDb reference to The Greatest Music Party in the World