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Every Little Thing Gonna Be Alright: The Bob Marley Reader [Format Kindle]

Hank Bordowitz

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Descriptions du produit

Présentation de l'éditeur

Throughout Africa, the Caribbean, Europe, and America, Bob Marley represents far more than just the musician who translated spiritual and political beliefs into hypnotic, hard-hitting songs such as "Get Up, Stand Up," "No Woman, No Cry," and "Jammin'." Marley was born in rural Jamaica and reared in the mean streets of Kingston's Trenchtown; his ascent to worldwide acclaim, first with The Wailers--Peter Tosh and Bunny Livingstone--and later as a solo artist, is a riveting story of the spiritual awakening of a uniquely talented individual.Now, for the first time, a symphony of voices has joined together to offer perspective on one of this century's most compelling figures. Dealing with Bob Marley as a man and myth, from his "rude boy" teens to international fame and his tragic death at the age of thirty-six, Every Little Thing Gonna Be Alright then explores the larger picture, examining Marley as the spokesman for Jamaica's homegrown religion of Rastafarianism, as a flash point for the pressure cooker of Jamaican politics, and his unique status as the first pop musical superstar of the so-called "Third World."

Goldmine 12/10/04

"An intriguing collection...absolutely fascinating...Every entry tells the reader something of interest."

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 1299 KB
  • Nombre de pages de l'édition imprimée : 330 pages
  • Pagination - ISBN de l'édition imprimée de référence : 0306813408
  • Editeur : Da Capo Press (4 mars 2009)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B009K44MB0
  • Synthèse vocale : Activée
  • X-Ray :
  • Word Wise: Activé
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Amazon.com: 3.0 étoiles sur 5  1 commentaire
12 internautes sur 14 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Forever Milking Bob 1 juillet 2004
Par Gregory Stephens - Publié sur Amazon.com
Format:Broché
In contrast to Rita Marley's No Woman No Cry, which is on the inside looking out, Every Little Thing Gonna Be Alright: The Bob Marley Reader is on the outside looking in. It concentrates on Bob's mythic or iconic dimensions.
On the very first page of text, a mini-intro titled "Marley: Cultural Icon," editor Hank Bordowitz informs us that Marley is a "cultural martyr who suffered for the sins of his audience."
Ouch. That reminds me of a red-headed singer at a Ft. Worth Bob Marley Festival in 2002 who shrilly declared: "Bob Marley died for your sins!" One could grin and bear such lunacies from enthusiastic fans, but in a book whose editor and writers surely want to be taken seriously, it sets one's teeth on edge.
This Reader is divided into two main sections. The first is titled "Wake Up and Live: The Life and Times of Robert Nesta Marley." Each chapter takes a Marley song to indicate its focus. "Waiting in Vain" is an oral history of the 1962-1972 period.
Chapter Two, "Stir it Up," covers the rise to international acclaim by Marley and the Wailers from 1972-1976. This includes a lengthy excerpt from Lee Jaffe's book One Love. Most of the writing dates from the 1970. We listen in on jaded New Yorkers who know how obvious some of Marley's stage mannerisms were, and yet acknowledge that they found his charisma irresistible.
A rough jewel here is Lester Bangs' "Innocents in Babylon." Bangs, writing for his Creem Magazine (immortalized in Almost Famous), freely confesses that Marley is his least favorite Jamaica artists. That critical distance, and the lack of editorial restraint, leads to some typically Bangsian gems. Bangs felt most at home in Jamaican record shops, rather than waiting around on stars. His time in one deafening store produces this memorable line: "the guitars chop to kill."
Chapter Three is "Top Rankin': The First Great `Third World' Star, 1976-1981." This includes Vivien Goldman's colorful portrait of the Wailers in Europe. In a different register, Carol Cooper's Afrocentric feature in the Village Voice describes Marley's ambition as "to resurrect the political ethic of Garveyism."
Chapter Four, "Blackman Redemption," is about the "Second Coming" of Marley 1981-2002. One can see how quickly reportage turned to hagiography in those years.
The much shorter second section of The Bob Marley Reader is titled "Music Gonna Teach Them a Lesson: The Meaning of Bob Marley." An essay by the late Jamaican Prime Minister, Michael Manley, on "Reggae and the Revolutionary Faith," is worth a read. It's worth repeating that, in contrast to, say, R&B or soca, "THE GREATER PART OF BOB MARLEY IS THE LANGUAGE OF REVOLUTION."
There's a famous anecdote, which Ree Negwenya relates in her account of Marley's visit to Zimbabwe, of the I-Threes fleeing to their hotel after getting hit by tear gas. Bob was coming off stage when Rita, Judy Mowatt, and Marcia Griffiths returned. Half-smiling, he said: ""Hah! Now I know who the real revolutionaries are."
I hope the next Marley Reader grapples with some troubling questions Marley's life raises, such as: is the "revolutionary impulse" best enacted abroad, or at home, and what is "the woman's place" in such movements? And, can we or should we aspire to outgrow the messianic mindset? Idolatry was both Bob Marley's strength (his faith in his "perfect father"), but also a form of mental slavery in both the man and his admirers.
(...)
5.0 étoiles sur 5 Lots to like 8 novembre 2014
Par David Dusty Cupples - Publié sur Amazon.com
Format:Broché|Achat vérifié
There is lots to like in this compendium put together by noted pop-music-and-culture writer Bordowitz. Essays penned by the likes of Robert Palmer, Alice Walker, the "white Wailer" Lee Jaffe (who takes just a little too easy to identifying the Wailers as "we"), several others that appeared in Village Voice or NYT Mag. There is Alex Constantine's provocative indictment of CIA involvement in Marley's death, far-fetched for sure but at a symbolic level perhaps containing elements of truth beyond mere facts. The most interesting essays for many will be the ones written while Bob was alive, like pop music critic Lester Bang's "Innocents in Babylon," written upon occasion of a Kurtzian journey into the mysteries of "darkest Africa" i.e. Jamaica. One boggles at Bang's admonition of who was his least favorite reggae artist, as if another elitist critic above it all. Se la vie. True Marley fans want to read every scrap written about Bob and listen to every version of every song. There are inaccuracies here but that is part of the mythology of the colossal figure of Marley, whose stature continues to grow over time. Review by the author of Stir It Up: The CIA Targets Jamaica, Bob Marley and the Progressive Manley Government, a novel.
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