BOB
MARLEY
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Abra J. |
Iconicpix
Iconic Picture Analysis
Though taken during a live
concert performance, this photograph could easily be one of the representations
of the exonerated, crucified Christ figure.
Indeed, the photograph bears a striking resemblance to many paintings
depicting the crucifixion of Christ. It physicalizes the heroic model of which Rojek
conceives—Marley with a powerful, even magical presence bravely delivering his
songs advocating social justice and global brotherhood aligned with the
Rastafarian movement (represented by Emperor Haile Selassie I image in the background) yet also relevant to
everyone in the politically turbulent mid 1970’s. The picture also brings to life the notion of
Marley as a religious-type prophet: the outstretched arms while standing firmly
upright, his head of long, thick dread locs facing
slightly upward; his eyes closed, he seems to be in a trance-like state, while
the image of Emperor Selassie I encircled in a golden
sun serves as Marley’s backdrop.
Moreover, understanding the image behind him is essential to recognizing
the significance of the picture in the fan discourse and to Marley’s
celebrity. Ras
Tarafi, Selassie’s name
prior to his rule over
Marley’s conversion to
Rastafarianism was reflected in his subsequent recordings. Much of this music included direct lyrical
reference to or quotes from Rastafarian texts or the Emperor, and messages
advocating global resistance against organized government and politics. As a result, his growing fan base, especially
those who were Rastas, labeled him their
prophet. Marley, because of his public
commitment to the Rastafarian movement, became the direct link between God (Haile Selassie I) and the masses
(Rastafarians and other core fans).
Thus, his positioning in the photo (between Selassie’s
image and the audience) and his pose (in the likeness of the exalted, crucified
Christ) only serve to etch this status onto and immortalize him in the minds of
his staunch fans.
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Bob Marley brought Jamaican
Reggae music and the energy of the country’s historical reputation of social
and political resistance and rebellion to a mainstream global audience. |
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Marley’s music expresses
spiritual and social messages of social injustice and racial equality that
transcends racial, religious, and social-class boundaries. |
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His music was founded in his
Rastafarian faith which could be expressed simply as “one world, one love”. |
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His appearance and lifestyle typified
those of the Rastafarians—long, dense “dread locs”,
ritualistic use of marijuana, and a peaceful, friendly demeanor towards all
people. |
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References: c- Marley,
Rita. 1995. “Remembering Bob Marley.” Essence,
February, 25, 10: 114-116. |
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Specific
Findings:
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Generalization(s) of Findings { As
is the case with the fan discourse, the large majority of mass media articles
elaborate on Marley’s iconic/heroic status as an artist who used his music in
service of social, economic, and political justice. Moreover, this view of Marley as a
revolutionary has not really changed in the, close to, thirty years that
music journalists have been writing about his music. If anything, Marley status, through the
pens of media, has transcended that of the heroic role model and moved into
that of the religious-type prophet.
Indeed, every article researched and those used in this analysis refer
to Rastafarian-infused musical messages of “one love, one world, one heart” and simultaneously those warning of protests
and uprisings to come if social inequalities persist. Moreover, the reports of his “mystique” are
prevalent throughout media descriptions of him, particularly in relationship
to his sex appeal and masculinity, his status as an idealized sexual
object. Though actual comments on his
sex appeal appear to be limited among the mostly male music journalists, the
admiration of his dread locs and soccer-sculpted
physique coupled with their observations of audience response to his
appearance is stated several articles. His exocitized look and cultural background are often linked
to his “mystique”, as if he was born with a mystical quality not only
inherent but also unattainable. As a
result, his “mystique” set him apart from/elevates him beyond both other
musicians and ordinary, mere mortals.
He is immortalized by mass media and his immortality is then reified
by both his core fans and other mass media consumers of these articles This religious-type immortality is fodder for another emerging discourse that center Marley and one only briefly discussed by Rojek—the anti-hero. In, what is second predominate media discourse on the musician, Marley is described as an artist who isn’t interested in financial award, but solely musicalized social protest. He described as choosing to live a very modest Rastafarian lifestyle without the accoutrements of superstar; he does not even dress as or behave as one. Therefore, he is certainly not viewed as the symbol of material success that Rojek describes. In many excerpts from his interviews often used by journalists, Marley describes himself as a man on a mission from God to tell the truth about impoverished nations and peoples, a world he always inhabited and knows well. He is not a rock and roll superstar or even interested in being one; occupation of such a status and accumulation of material good is in direct conflict with his Rastafarian beliefs and lifestyle. Marley believes politicians and organized political systems to be inherently corrupt and evil. Therein, too, lies, what media have deemed his nearly unmatched eloquence in translating and expressing human vulnerability on a universal scale. To many in the media, his fluency in the language of the disenfranchised and the common man account for his sustained, global audience for over three decades. Furthermore, journalists not only mention his long-time and expansive fan base, but they also write themselves into the articles as being one of those fans. Thus, negative critique of Bob Marley—either of his personal life or of his music—by mass media is virtually non-existent.} |
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Sources: a. {Bob Marley: The Legend Lives On, http://www.geocities.com/rastafarian1882/home.html
- This fan site provides a montage of pictures, videos, complete song lyrics, a biography,
a discograpy, and the beginning to a conspiracy
theory surrounding Marley’s death as well as links to other fan sites and a
collectibles/memorabilia merchandise page.
b. The Ultimate Bob Marley Fan Site, http://www.thirdfield.com/
– This “ultimate” site offers a biography,
some song lyrics, photographs, links to favorite merchandise and fan
pages and sites, Marley trivia, contests, CD/DVD giveaways, and polls where
fans can rank their favorites Marley discs. c. ThirdField Forums: The Community, http://www.thirdfield.com/new/index.html
- Linked to the ThirdField page, this is an
expansive chat room for Marley fans that includes the latest news about the
artist and his family as well as a space for fans to express allegiance to
the man, his music, and his critics.} |
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Specific
Findings:
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Generalization(s) of Findings { Throughout many of the fan sites, forums,
chat room topics, and general biographical information, it is clear that most
of the fans and the information presented about him, center Bob Marley as a
sort of heroic role model for social justice and political resistance. Indeed, many fan sites focus on the
messages of social problems and injustice that can be located in Marley’s
music lyrics. Moreover, each of the
above mentioned sites (among others) have nearly complete listings of
Marley’s song lyrics. Additionally,
fans who communicate on the discussion often greet/salute each other with
“one love” and/or refer to each other as “sister” or “brother”, referencing
Marley’s messages of sister/brotherhood.
Second only to Marley’s appealing appearance as a figure for social
justice, are fans’ fascination with his different partners and several
children. Fans often speak of his good
“looks” and “charisma”, while viewing his adulterous affairs—and resulting
children—not only as part of his faith, his lifestyle as a Rastafarian, but
also a part of his Jamaican cultural heritage, which is then seen as having
an ideology/epistemology about marriage that differs from the United States.
There is also another lense from which his personal
life is viewed, similar to religion and the words from Marley himself, where
in such a light Marley is, like everyone else, admittedly flawed and
vulnerable to human folly. This view is then, linked to Marley’s ability to
capture the spectrum of human emotion and vulnerability in his lyrics, and
thus have a body of work that appears to thoroughly represent such a
spectrum. Among these views and discourses
expressed and established by Marley fans, it is difficult to locate opinions
of him having, let alone being a symbol of material success, though it is
occasionally stated and often implied that Marley rose from post-colonial
poverty to global acclaim. But this is
often used to substantiate the religious-type view of Marley as a prophet, a
man who was apart of and spoke for socially disenfranchised and -disenchanted
masses. Indeed, there appears to be
such a religiosity to fan perceptions of Marley, that the discourse begins to
read as a model different from the four Rojek
establishes; it resembles a religious prophet or an immortalized martyr (such
Jesus, Mohammed, or Joan of Arc). This
discourse is closely related to that of the heroic role model in that fans
clearly see Marley as unique, as accomplishing the heroic feat of uniting
many cultures around the world, if only temporarily. However, this emerging discourse, using
religious-type vocabularies, goes a step further. Marley is labeled, almost unanimously, a
“prophet” spreading the Rastafarian messages of brotherhood, universal love,
and protest against social injustice throughout the world (a; b; c). Moreover, his music (and thus Marley
himself) “will live forever” (a; b).
Marley is established as a religious prophet bringing a message and
leading a global movement. He is then
immortalized through the circulation and passing-on of not only his music,
but also of artifacts and products representing his celebrity— fan sites, tee
shirts with face on them, post-humus cd’s and dvd’s, posters and paintings in his celebrity (and often
a religious) likeness (see photo above), annual music fests in his honor,
etc. Marley is “resurrected” and his
celebrity text constantly reconstructed through these religious-type
practices of fandom. } |
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