Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / Ziggy Marley: Black History Month Bonus

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Ziggy Marley: Black History Month Bonus · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

0:15
Speaker 1: Pushkin.
0:20
Speaker 2: Last week we went back and replayed my conversation with
0:22
Speaker 2: Usher to celebrate his Super Bowl performance and the incredible
0:26
Speaker 2: career resurgence he's had over the last couple of years.
0:29
Speaker 2: In thinking about our back catalog of episodes, I thought
0:31
Speaker 2: there was another conversation worth revisiting, Malcolm Gladwell speaking with
0:35
Speaker 2: Ziggy Marley about the cultural influence the tiny country of
0:38
Speaker 2: Jamaica and Ziggy's dad, Bob Marley, have had over the
0:41
Speaker 2: last half a century. The Bob Marley bio Pick One Love,
0:44
Speaker 2: was released in theaters yesterday. I hope anyone familiar with
0:47
Speaker 2: the Bob Marley name or his music will go see
0:49
Speaker 2: it at some point if I wanted to keep the
0:51
Speaker 2: conversation about his songs and his political thinking alive and
0:54
Speaker 2: to guard against his legacy becoming further Whitewashington commercialized, which
0:59
Speaker 2: feels increasingly inevitable as the years after his death continue on.
1:03
Speaker 2: So have a listen to Malcolm's conversation with Ziggy from
1:06
Speaker 2: a couple of years back, see the movie Spend some
1:08
Speaker 2: Time with Males catalog and some of the other great
1:11
Speaker 2: Jamaican music from that time, from Prince Buster to Alton
1:13
Speaker 2: Ellis and beyond. This is broken record liner notes for
1:20
Speaker 2: the digital age.
1:21
Speaker 1: I'm justin Richmond.
1:23
Speaker 2: Here's Malcolm Gladwell and Ziggy Marley. This conversation was taped
1:27
Speaker 2: live as part of the Live Talks Los Angeles series.
1:31
Speaker 1: This book that you've done, with all of these photos
1:34
Speaker 1: of your father, it had a kind of personal residence
1:37
Speaker 1: for me because, as you may know, my mom is
1:40
Speaker 1: Jamaican and when I was growing up in the seventies,
1:44
Speaker 1: we would go to Jamaica every year every Christmas and
1:47
Speaker 1: all these so many of these photos are from the
1:50
Speaker 1: Jamaica that I remember as a kid. It's funny, It's like,
1:53
Speaker 1: I mean, it's very personal for you, but in this
1:55
Speaker 1: weird indirect way, it's personal for me too. You know
1:59
Speaker 1: how when you look at a photo of Jamaica, you
2:00
Speaker 1: can smell Jamaica. I could smell I could smell Jamaica again,
2:05
Speaker 1: It's this lovely like took me back to my childhood.
2:09
Speaker 1: What led you to want to do this book?
2:11
Speaker 3: So over the years we've we've collected a lot of
2:13
Speaker 3: photographs of Bob. I'm from different photographers and stuff like that.
2:19
Speaker 3: And you know, usually I think the photographs you say
2:22
Speaker 3: a Bob are iconic photographs. You know, you always see
2:25
Speaker 3: the iconic images, and so for this, we came upon
2:29
Speaker 3: the seven the fifth at birthday anniversary, and I felt like,
2:33
Speaker 3: let's do some special for the seven fifth. Let's take
2:36
Speaker 3: some of these photos archives and put together a photobook.
2:40
Speaker 3: The family has never done one before, other people have
2:42
Speaker 3: done one. Then I'm totally understand. Always said when you
2:44
Speaker 3: talk about you smell Jamaica the photos because during the book,
2:49
Speaker 3: like it brought me back to that time too, you know,
2:51
Speaker 3: looking at it just it's like it's such a it's
2:54
Speaker 3: such a real experience, a real thing that when I
2:59
Speaker 3: was looking at the photos, it, you know, everything just
3:01
Speaker 3: kind of came back to me.
3:03
Speaker 1: Yeah, when you say, I was just thinking logistically, you said,
3:07
Speaker 1: this is really the family's book. There's so many of you.
3:10
Speaker 1: How on earth did you guys? Did you guys coordinate
3:13
Speaker 1: picking all of these photos? Did you have like a
3:16
Speaker 1: family counsel where you all sat down and went through them?
3:20
Speaker 4: No?
3:20
Speaker 3: No, well I was given a task. I was given
3:23
Speaker 3: that responsibility of going through the photos.
3:25
Speaker 4: That's all we do.
3:26
Speaker 3: Kind of delegate responsibilities. Yeah, you know, everybody, this is
3:29
Speaker 3: your project, your you have you have the family's approval
3:32
Speaker 3: and blessing.
3:33
Speaker 4: Is your project, go ahead and do it, you know.
3:35
Speaker 1: Yeah, Well, tell me about your your memories of your father.
3:39
Speaker 1: You so, you're born in sixty eight, so you when
3:42
Speaker 1: he dies, you're you're just a teenager.
3:44
Speaker 4: Yeah, it was going on thirteen.
3:47
Speaker 1: Yeah, tell me tell me a little bit about what
3:49
Speaker 1: you remember of your father.
3:51
Speaker 3: Well everything, I mean, they's not'ing to forget really, because
3:54
Speaker 3: the limited experience we've had with him, you know, everything
3:57
Speaker 3: was memorable and left everlasting impact on my psyche. You know,
4:03
Speaker 3: I said everything it was like going to school, but
4:06
Speaker 3: a different type of school, you know, I said, like
4:08
Speaker 3: so growing not put bob. I mean, there was different elements.
4:11
Speaker 3: It was fun side, happicide and clear on the children.
4:14
Speaker 4: We will travel to the countryside, this hometown every now
4:18
Speaker 4: and again. I didn't fun. I remember those days. They
4:20
Speaker 4: were no seats.
4:21
Speaker 3: He would have been a lap in the front seat
4:23
Speaker 3: or seat no no, no ear back.
4:25
Speaker 1: Yeah, yeah, I believe it. I remember that Jamaica in
4:30
Speaker 1: the back of the Volkswagen Beetle driven by my uncle.
4:33
Speaker 2: Yeah yeah.
4:35
Speaker 4: My my mom had one of those two. She had
4:37
Speaker 4: one of those Beatles too.
4:38
Speaker 1: Yeah.
4:39
Speaker 3: Yeah, But I mean and then there was a serious side.
4:43
Speaker 3: It was what I saw was a lot of discipline.
4:46
Speaker 4: This money.
4:46
Speaker 3: I love work hard this mane, I love discipline, this money.
4:48
Speaker 3: He's from the countryside and he's so rute rooted in
4:55
Speaker 3: his humility that for him to call back to his
4:58
Speaker 3: home towne I go back to trenchtone in the ghetto.
5:02
Speaker 4: It was like, it's just it's just Bob. This is
5:04
Speaker 4: just Bob. It's not like Bob.
5:05
Speaker 3: The the superstar or whatever, you know, It's just bib So.
5:10
Speaker 3: I mean lots of socle, lots of football, socle music,
5:14
Speaker 3: socle music, and the spiritual side of it was very
5:17
Speaker 3: powerful thing. And as love having Bible. And he would
5:21
Speaker 3: take me and my brother Steve into this what you
5:24
Speaker 3: call him. It's like service, like you know people got
5:26
Speaker 3: to church service, or people go to the synagague or
5:29
Speaker 3: the masque. When we had these thing called naia bingis
5:31
Speaker 3: and we would it would be like some weird time
5:33
Speaker 3: at night.
5:34
Speaker 4: And it was such a mystical.
5:35
Speaker 3: That's why I said it left such an impression on
5:37
Speaker 3: me as a child, because it was such a the
5:41
Speaker 3: not being was such a mystical thing, you know, smoke, fire, drums, singing,
5:45
Speaker 3: chanting and a whole spiritual vibe, you know. So yeah,
5:50
Speaker 3: you know, we go up in that kind of environment
5:51
Speaker 3: where every memory really is stuck with us, and the
5:54
Speaker 3: memory is stuck with us more than just a memory.
5:56
Speaker 3: It stuck with us as like I experience that has
6:01
Speaker 3: kind of molded us into who we are today. You know,
6:05
Speaker 3: is a It's a really heavy thing, you know, it's heavy.
6:08
Speaker 1: Yeah. The other part of it that's fastening to me,
6:11
Speaker 1: as I said earlier, was the Jamaica of that period,
6:15
Speaker 1: which is Jamaica in the seventies. So many of these
6:18
Speaker 1: photos are about Jamaica in the seventies, and Jamaican in
6:19
Speaker 1: the seventies is an intense place. I mean, politics is
6:26
Speaker 1: manly in Siaga, and there's violence, and there's gun court,
6:30
Speaker 1: and there's reggae and there's you know, don Quarry winning
6:34
Speaker 1: gold medal. I mean, it's just sort of like there's
6:36
Speaker 1: so I remember go there as a kid. It's just
6:38
Speaker 1: like so much. I was coming from rural Canada where
6:41
Speaker 1: nothing happened, to a place where everything was happening. Can
6:45
Speaker 1: you talk a little bit about that. I mean, you
6:47
Speaker 1: were in the epicenter of this because your father was
6:50
Speaker 1: at the was the kind of in the middle of
6:53
Speaker 1: the of the maelstream.
6:55
Speaker 3: Yeah, there were certain minor posts that I can like
6:57
Speaker 3: remember about the seventies, especially the more turbulent times the politics.
7:03
Speaker 3: So we can go back. I remember the night my
7:08
Speaker 3: appearents verse, right. I remember before my mom left to
7:12
Speaker 3: go to Ursus. I was like, yo, Mommy, take.
7:14
Speaker 4: Me to Earth.
7:14
Speaker 3: I wanted to go. I wanted to go to use
7:15
Speaker 3: and said no, like you have school tomorrow. And I
7:18
Speaker 3: was like very like angry that she never let me
7:20
Speaker 3: go to Ursers. And then, you know, looking back after
7:23
Speaker 3: the shoot, I think she probably.
7:25
Speaker 4: It was a good decision, right. So I remember that night.
7:28
Speaker 3: I remember she leaving and we went to bed, right,
7:33
Speaker 3: But in the middle of the night, some police came
7:36
Speaker 3: to the house and like grabbed us up and like
7:39
Speaker 3: there's a lot of you know, like chaos, and like
7:41
Speaker 3: let's go move, let's go, let's go get the kids
7:43
Speaker 3: them out of the house, and they drove us to.
7:45
Speaker 4: Wherever we were going. We never know. I was just
7:47
Speaker 4: like this, I was like, the fuck this year? What
7:52
Speaker 4: is seventy seventy six?
7:53
Speaker 3: But you're about geting the assassination seventy six y So
7:58
Speaker 3: Another more impacerful experience was with my mom. Actually we're
8:01
Speaker 3: talking about the seventies and what was going on there,
8:03
Speaker 3: the political upheaval and just you know, the drama and everything.
8:06
Speaker 4: So my some my mom pick us up from school.
8:10
Speaker 3: This was during the height of the there was a
8:11
Speaker 3: big protest going on political They were blacking the roads,
8:15
Speaker 3: fire burning, tires burning in the streets.
8:18
Speaker 4: So my mom picked us up from school in.
8:20
Speaker 3: The Beatle in the vub's driving us home and we
8:25
Speaker 3: come up on our road back.
8:26
Speaker 4: Okay, okay, I get home. We're not too far from home.
8:28
Speaker 3: But we can pass because these guys there, there's tires burning,
8:32
Speaker 3: and these guys are like and I remember being in
8:35
Speaker 3: a back seat and watching my mother.
8:37
Speaker 4: She came out of the car and she confronted these
8:39
Speaker 4: guys in a very bridge brave.
8:41
Speaker 3: I mean, it's brave what she did, like stand up
8:44
Speaker 3: and say, yo, know whatever I do. She cursed and
8:48
Speaker 3: she tacked them down, and they kind of like, okay,
8:50
Speaker 3: I'm kind of part part of the road back and
8:52
Speaker 3: we drove through. So that's that's another memory that's like
8:56
Speaker 3: from remember that time and the turbulent political situation. Those
9:01
Speaker 3: two mile posts is what I go back to but
9:04
Speaker 3: I mean there was good times to man, you know
9:06
Speaker 3: what I mean, I mean going back to change, don't
9:09
Speaker 3: playing football. You know, it was a very double edged
9:13
Speaker 3: sword that period of time because it was so good too.
9:15
Speaker 4: The vibe, the energy of the music.
9:18
Speaker 3: There's so much live and there's so much revolutionary like change,
9:22
Speaker 3: you know, like it's the same time Bob and Clyde
9:24
Speaker 3: muss Up, who was a strong man or a strong
9:27
Speaker 3: arm the political function and Bucking Marshall, they came together
9:32
Speaker 3: and were starting to kind of dis owned the politics.
9:34
Speaker 4: And I was there too.
9:35
Speaker 3: I met I met all of these guys take live
9:38
Speaker 3: and I knew, I knew what was happening, and I
9:41
Speaker 3: kind of but actually when I got later and I
9:43
Speaker 3: kind of understand who these guys were because I just
9:46
Speaker 3: saw them as guys, as Bob's friends, and I know
9:48
Speaker 3: they were meeting and talking and blah blah blah. But
9:51
Speaker 3: when I grew up, I realized these guys were some
9:53
Speaker 3: dangerous men. They weren't just like some love. These guys
9:57
Speaker 3: were some serious guys, you know. So that is yeah,
10:00
Speaker 3: that is the world.
10:01
Speaker 4: That is the world. You know.
10:02
Speaker 1: Back in the seventies, I remember funny you talk about
10:05
Speaker 1: your mother and that bla black. My grandfather telling me
10:08
Speaker 1: that he driving down the road and there'd be a roadblock,
10:10
Speaker 1: and he got really good at guessing whether it was
10:12
Speaker 1: j LP or pn P, the two two parties. So
10:17
Speaker 1: take a look. He's like, that's JLP wave. It is
10:20
Speaker 1: fished out the window j LP. They're like waving through
10:24
Speaker 1: the P and P. But you know, to your point,
10:31
Speaker 1: it's the world that burst this extraordiny amount of your
10:35
Speaker 1: father's music. I mean, it's what gave his music such
10:38
Speaker 1: immediacy and urgency and power. Did your father talk a
10:42
Speaker 1: lot about the cut of the politics of Jamaica?
10:45
Speaker 4: Not, I mean not to me.
10:46
Speaker 3: I mean I've heard, I've overheard stuff and i've you know,
10:48
Speaker 3: but never directed to us.
10:50
Speaker 4: Yeah, I mean he's spoken about it.
10:53
Speaker 3: Obviously, he's not a political person to say, well, decide
10:57
Speaker 3: these politics are that political party or whatever. I think
11:00
Speaker 3: he was because his thing was rastafar right, which is
11:03
Speaker 3: another thing. It's need a pn P, I JP. It's
11:06
Speaker 3: like it's all things. And what was happening was that
11:10
Speaker 3: all of the mentioned Claude Master, Boki Marshall, these were
11:13
Speaker 3: the strong arms. They were These were the enforces of
11:16
Speaker 3: the political party, the lead enforce us.
11:19
Speaker 4: These guys were coming over to Bob side.
11:21
Speaker 3: So there was a whole other thing going on that
11:24
Speaker 3: the political poets were losing their their muscle to this
11:29
Speaker 3: idea of RASTAFARII. And that was what bubb was really about,
11:33
Speaker 3: really if it, I mean, if if he was about politics,
11:36
Speaker 3: it was the political party of Rasta Farirai, which is
11:39
Speaker 3: a spiritual movement, you know, change, change how things are.
11:42
Speaker 3: So I think that was his politics. Rastafari was his politics.
11:46
Speaker 1: We could say, you know, yeah, I was trying to
11:49
Speaker 1: think whether there's another musical artist who has had the
11:53
Speaker 1: same kind of status in his or her home country
11:58
Speaker 1: as your father did. I mean, I remembering that famous
12:01
Speaker 1: concert where the two political figures of the day and
12:07
Speaker 1: manly didn't they shake hands on stage? Had had a
12:11
Speaker 1: Bob Marley concert.
12:12
Speaker 4: Yeah, the one loved Peace concert.
12:14
Speaker 1: Yeah. I mean, the analogy would be as if Donald
12:17
Speaker 1: Trump and Joe Biden had kind of hugged on stage
12:22
Speaker 1: at a Bruce Springsteen concert. Right, that's the that's the
12:25
Speaker 1: club I mean, But it doesn'ty, that doesn't even capture it.
12:28
Speaker 1: I mean, this is why I love the book so
12:30
Speaker 1: much because it takes us back to the time and
12:33
Speaker 1: the place. Yeah, there's wonderful photos of the One Love
12:37
Speaker 1: Concert with Siega and Michael Manley.
12:41
Speaker 3: Yeah, I remember that that was there. Me and my
12:43
Speaker 3: brother went on stage. That's what we usually do. Like
12:45
Speaker 3: me'am Stephen, my brother Steven, you would go on stage.
12:48
Speaker 3: We would go on stage in that last time, which
12:51
Speaker 3: is usually exodus those times was tough to the One
12:54
Speaker 3: Love Peace Concert. So I remember, let me.
12:57
Speaker 4: Let me.
12:57
Speaker 3: I don't think we're being afforded at that period. But
12:59
Speaker 3: when Bob after the assassination attempt and Bob I'd come
13:03
Speaker 3: home far the One Love Peace Concert, So we all
13:05
Speaker 3: went to the airport, and you know, there was totally
13:08
Speaker 3: enough people at the air because Bob's coming back. And
13:11
Speaker 3: the thing is that political strongmen for the parties, political
13:15
Speaker 3: parties now we're on the same page as Bob. And
13:17
Speaker 3: so everyone that supports these political parties now was supporting
13:22
Speaker 3: Bob and and and these these guys who know have
13:25
Speaker 3: their own ideas of peace and less political violence.
13:29
Speaker 4: So the airport was full.
13:31
Speaker 3: And then I was there and I remember the crowd
13:34
Speaker 3: and then pulled Bob and I'm there, I'm outside now
13:38
Speaker 3: in this crowd, all mixed up with everybody, and Bob
13:41
Speaker 3: get pulled into a car and I'm by the window
13:43
Speaker 3: like this, Why no, he pulled me through the window.
13:50
Speaker 1: Well you knew you got left behind.
13:52
Speaker 4: I got mixed up in the cow. It was like
13:54
Speaker 4: this crowd. No, there wasn't I had no nanny, r
13:57
Speaker 4: nobody watching me.
14:01
Speaker 1: It's important to remember in this moment in Jamaican history,
14:04
Speaker 1: it's almost like the country is in is instead of
14:07
Speaker 1: civil war, there is violence everywhere. You know, people are
14:11
Speaker 1: leaving Jamaica and droves to come to the United States
14:14
Speaker 1: or Canada to escape. It's a kind of a crazy period.
14:18
Speaker 3: But it's funny not only as civil wars, like a
14:20
Speaker 3: geopolitical work going on to at the same time between
14:24
Speaker 3: the United States and Russia and Cuba, because that was
14:27
Speaker 3: the old thing.
14:27
Speaker 4: That's why Edward Seaga he was a buston.
14:30
Speaker 3: He guarded from Boston University, and so there was the
14:33
Speaker 3: geopolitical situation.
14:35
Speaker 4: Even elevated the stakes even more.
14:38
Speaker 3: Yeah, and Bob, I mean, Bob wasn't a serious position
14:41
Speaker 3: and nobody knew, but he wasn't a serious position because
14:45
Speaker 3: of the geopolitical element. Would would America allow a socialist
14:50
Speaker 3: government who has ties with Cuba to have another, which
14:55
Speaker 3: would then mean Russia having a more influence in that region.
15:00
Speaker 3: You know, America didn't want and would not allow that.
15:02
Speaker 3: And now there was this guy, this singer guy who
15:05
Speaker 3: who people were drawn to, and he was like she
15:08
Speaker 3: had some politic got power too because the political strong
15:13
Speaker 3: men and their people are now drawn to this singer guy.
15:16
Speaker 3: Who's this singer guy, you know what I'm saying. So
15:19
Speaker 3: the states were really high beyond what I think we realized,
15:24
Speaker 3: or even Bob might have realized at the time. Are
15:26
Speaker 3: people around him you know.
15:28
Speaker 2: We'll be back with Malcolm Gladwell and Ziggy Marley after
15:31
Speaker 2: a break. We're back with more from Ziggy Marley and
15:38
Speaker 2: Malcolm Gladwell.
15:39
Speaker 1: Can you think of a musical figure who is analogous
15:42
Speaker 1: to your father?
15:44
Speaker 4: Yeah, I think more fella cute from Nigeria.
15:48
Speaker 3: Yeah, and him he was, you know, he was another
15:52
Speaker 3: one of my I met him once, not Chica, but
15:55
Speaker 3: he was he was serious. He was really, I mean
15:58
Speaker 3: what he did in in Nigeria standing up against the government,
16:02
Speaker 3: the brutality and the songs he.
16:03
Speaker 4: Wrote about that.
16:05
Speaker 3: Really, he just like my father assassination, and I mean
16:09
Speaker 3: they would read him and beat him and beat his
16:11
Speaker 3: mother and you know a type of things.
16:13
Speaker 4: So I felt it would be a good analogy to Bob.
16:17
Speaker 1: I think, yeah, yeah, And there are a couple maybe
16:20
Speaker 1: a couple of South African la maybe it would be
16:24
Speaker 1: a good analogy. But when do you become aware that
16:28
Speaker 1: you want to make your life in music? Is that
16:30
Speaker 1: something that comes to you very young and looking at
16:32
Speaker 1: your father or afterwards after his death.
16:35
Speaker 4: No, it comes, it comes before that.
16:36
Speaker 3: I mean the first concert we played, it was a
16:38
Speaker 3: concert that Bob wasn't It was the International year the
16:42
Speaker 3: children hear that was same to nine. So he and
16:46
Speaker 3: he wrote the first song that we have a song.
16:49
Speaker 3: So we was always music and Bob would always call
16:52
Speaker 3: us to sing when he's writing, it'll come sing.
16:55
Speaker 4: We're playing. We want to go play.
16:57
Speaker 3: He started telling us to come sing, you know, so
17:00
Speaker 3: we'll start very young with music. The thing I get
17:02
Speaker 3: from Bob musically speaking, is a discipline and the focus
17:08
Speaker 3: and the seriousness in which you approach the music. The
17:12
Speaker 3: respect that they gave the music. So you have to
17:14
Speaker 3: put in the work that shows you respect the music
17:17
Speaker 3: is not like it and you know, you have to
17:19
Speaker 3: sing the right No you ever practice, you know, so
17:22
Speaker 3: really when we used to see that and much about
17:25
Speaker 3: the Marrs, and I think for some reason I grew
17:28
Speaker 3: up taking that ethic of hard work and putting it
17:32
Speaker 3: into my own music of my life in general, you know,
17:35
Speaker 3: the exercise and or whatever.
17:37
Speaker 4: I think seeing him just you know, grining and like
17:41
Speaker 4: want to make it right.
17:42
Speaker 3: And the discipline, the discipline, you know said, the discipline
17:46
Speaker 3: is really is a strong impact on me seeing that
17:50
Speaker 3: discipline as growing up around that.
17:53
Speaker 1: Can you talk a little bit about the way he
17:55
Speaker 1: made music? I mean, was there was there a kind
17:57
Speaker 1: of an approach that a particular approach and can you
18:00
Speaker 1: can you give a loves of an example of how
18:03
Speaker 1: he worked and how he created?
18:05
Speaker 3: Well what I saw and this was probably in Miami
18:09
Speaker 3: at his mother's house. Yeah, but he always had this
18:12
Speaker 3: guitar around and a lot of time it's mumbling. You
18:14
Speaker 3: don't really it's not a song, you just hear ideas
18:17
Speaker 3: coming out.
18:18
Speaker 4: And for me, he would always have fun with it.
18:22
Speaker 3: It was never like a serious like writing and you know,
18:25
Speaker 3: it was like something very joyful in the process, was
18:29
Speaker 3: very joyful, unhappy, and people around and laughing and you know,
18:34
Speaker 3: you getting the lyrics making fun. There's this one, and
18:38
Speaker 3: I don't think you never did release this one.
18:40
Speaker 4: It was released. It's kind of like he.
18:41
Speaker 3: Did it as a demo real It's kind of like
18:43
Speaker 3: a really good time and.
18:45
Speaker 4: I don't remember him being in Miami.
18:46
Speaker 3: In his bedroom with his O Vision guitar and it
18:50
Speaker 3: was just having fun with you, having a real good time,
18:53
Speaker 3: you know, and people you know, I'm a smoke and
18:55
Speaker 3: split fun. It's just a good energy, just a good vibe,
18:58
Speaker 3: you know what it's like. And then you never hear
19:01
Speaker 3: what a sound complete. You only hear when it come
19:02
Speaker 3: on the record. You hear pieces of it, ideas of
19:05
Speaker 3: things you know, and then you hear a record. So
19:07
Speaker 3: you never I never him complete one song righting a
19:11
Speaker 3: song completely, you know, you always hear a little bits
19:14
Speaker 3: and pieces here and there.
19:16
Speaker 1: When your father became ill, was there a sense of
19:21
Speaker 1: urgency with him? Did his work take on a new
19:24
Speaker 1: kind of seriousness?
19:26
Speaker 4: No, he was always urgent from him.
19:29
Speaker 3: I mean he was urgent from the get go, because
19:31
Speaker 3: there are a few examples of that kind of energy
19:34
Speaker 3: of his urgency, of his work, ethic, of his determination.
19:39
Speaker 3: So he was in the band of Winners with with
19:40
Speaker 3: Bonnie and Peter, these three guys, right, they were in
19:43
Speaker 3: his band and obviously in a world code because a
19:48
Speaker 3: kind to what he said in an interview, it was
19:50
Speaker 3: like and said these words, he used my name. He says,
19:54
Speaker 3: if if you think when Ziggy wants to go to
19:56
Speaker 3: school that he can say, like he didn't want to work,
20:00
Speaker 3: he didn't want to do this what you know, so
20:02
Speaker 3: he wants to work, you know, he wants to get
20:05
Speaker 3: things done. There was always an urgency. There was never
20:08
Speaker 3: a lot of time. There was never a lot of time.
20:10
Speaker 3: There was always music. There was never and like all right,
20:13
Speaker 3: let me take a vacation, now, let my got chill out.
20:16
Speaker 3: Now there's no It was like thirty six I mean,
20:19
Speaker 3: how much in thirty six years of like pushing, you know,
20:23
Speaker 3: pushing it, pushing and pushing it, touring, never stopping, so
20:27
Speaker 3: that urgency of field was always there.
20:30
Speaker 1: Of all of his music, what are the songs that
20:32
Speaker 1: speak to you the most.
20:34
Speaker 3: The song that gets minimalist is a redemption song because
20:37
Speaker 3: I remember Shout of Empires.
20:39
Speaker 4: That was the album that was the album.
20:41
Speaker 3: That song was was the emotional spear, the emotional arrow.
20:47
Speaker 3: You know when you hear that song that in that
20:49
Speaker 3: time So that memory of that song I related to
20:52
Speaker 3: that time period and it was human his guitar. It's
20:55
Speaker 3: so it's so soulful and just the final thing is
21:00
Speaker 3: just Himan and guitar, and so that song always kind
21:03
Speaker 3: of have an emotional impart on me.
21:05
Speaker 1: Yeah, I want to know more about your childhood. There's
21:09
Speaker 1: a lot of moving around. Your family went to London
21:12
Speaker 1: right after the shooting, is that right?
21:15
Speaker 3: Yeah, but we we never got London, So all right,
21:17
Speaker 3: so chrenched down right Changtown where where I was born
21:21
Speaker 3: in Changstown. We grew up in a Changstone a little
21:23
Speaker 3: bit and then moved to Delaware, where his mother had
21:26
Speaker 3: moved I migrated to.
21:28
Speaker 4: So we lived in Delaware, Williamington, Delaware.
21:30
Speaker 3: I went to school elementary school in Delaware for maybe
21:33
Speaker 3: a year or so.
21:34
Speaker 4: Then we moved up to Jamaica.
21:36
Speaker 3: But we moved out out Trenchtone and move into a
21:38
Speaker 3: place called Bulby, which is a much better standard of living.
21:42
Speaker 4: It's like, you know, not poor, but not rich.
21:45
Speaker 3: It's like the middle class or something like that in
21:47
Speaker 3: Jamaica at the time. But it's funny within that middle
21:51
Speaker 3: class community when a mother lived. We were still with
21:53
Speaker 3: our grand aunt and it was like we had to
21:56
Speaker 3: walk up the road and up the hill and she
21:58
Speaker 3: was living in a poor a poor classhouse with no
22:01
Speaker 3: what I no tilet no nothing, so right within that
22:05
Speaker 3: middle class thing years right, If I went to my aunt,
22:08
Speaker 3: I was like I was another neighborhood. And so we
22:10
Speaker 3: would stay with her a lot of times because mommy
22:13
Speaker 3: and Daddy would go on tour and then we would
22:15
Speaker 3: have to stay with Granda Auntie in that house there.
22:19
Speaker 4: And then after that we moved to an upper middle.
22:21
Speaker 3: Class neighborhood now, and then after after my father passed Awa,
22:26
Speaker 3: my mother move us into a more upper class in
22:29
Speaker 3: the hills with a big house and lots of rooms
22:31
Speaker 3: and stuff like that. So yeah, that was the movement
22:36
Speaker 3: and it was fun as a child. Everything was a
22:40
Speaker 3: great learning experience, you know, this life with my family
22:43
Speaker 3: and my father and my mother and what they were
22:44
Speaker 3: going through.
22:46
Speaker 4: I was also learning from. At the same time, what's.
22:49
Speaker 1: It like going back to Jamaica now? Get mobbed walking?
22:53
Speaker 4: Do?
22:53
Speaker 3: I haven't been back in a while. Still about going
22:55
Speaker 3: back when I went back last time? Jam, I mean
22:58
Speaker 3: a lot, a lot has changed at another generation.
23:01
Speaker 4: A lot of the vibes that's changed, the old look
23:03
Speaker 4: has changed.
23:04
Speaker 3: You know, I'm a lot of more Americanization of Jamaica.
23:09
Speaker 4: But the country side is where the magic still remains.
23:12
Speaker 4: You know. The city, the city's side, I'm not so,
23:16
Speaker 4: I'm not.
23:16
Speaker 3: It's not when we when we were growing up in
23:18
Speaker 3: a city, it wasn't like a big metropolitan city. It
23:23
Speaker 3: was like a look a town and it was still
23:24
Speaker 3: had that vibe of like you're still in Jamaica. But no,
23:28
Speaker 3: it kind of the city kind of gets a little
23:31
Speaker 3: more hectic and so, but the country side is is
23:34
Speaker 3: still where it's. Jamaica has a vibe to it. You
23:37
Speaker 3: don't really get anywhere from me. You know, it's a
23:40
Speaker 3: very inspirational place if you find the right spot.
23:43
Speaker 4: You know.
23:44
Speaker 1: Yeah.
23:45
Speaker 4: Ian Fleming, he wrote this gens band stuff in Jamaica.
23:48
Speaker 1: GoldenEye, Golden Eye is written in Jamaica, new Port, Antonio.
23:53
Speaker 1: I think there's a there was a there was a house,
23:56
Speaker 1: he stated, Yes, that's right.
23:58
Speaker 4: Yeah, yeah, so plenty inspiration.
24:01
Speaker 1: Yeah, it's easy to see why Jamaicans have such an
24:04
Speaker 1: inflated sense of their own importance because the whole world
24:08
Speaker 1: comes running very pro Yeah, I want to talk about
24:14
Speaker 1: some of the photographs that mean the most to you
24:16
Speaker 1: in this book. My first question was how many of
24:19
Speaker 1: these photographs did you take, our other family members take
24:22
Speaker 1: and how many of them are professional photographs?
24:26
Speaker 4: Well, I didn't, we never take any. These aren't all photographs.
24:30
Speaker 4: These are professional.
24:32
Speaker 3: There's there's his friend never who used to do his
24:34
Speaker 3: lighting and design his album or have some photos in there.
24:38
Speaker 3: But with the book, what we what I try to
24:40
Speaker 3: do is do a balance of those type of professional
24:43
Speaker 3: like iconic images and with more like images of you know,
24:47
Speaker 3: just in real life outside of the musician, outside of
24:50
Speaker 3: the stage, you know, show some bags, you know, show
24:53
Speaker 3: him beyond that, and for trying, as I said in
24:57
Speaker 3: the book, trying to make people even feel a deeper
24:59
Speaker 3: relationship to him. Because if you know someone just as
25:02
Speaker 3: you I can are as you as a as a musician,
25:07
Speaker 3: I mean a singer, then that's one we have done.
25:09
Speaker 3: But if he can't get a deeper understanding of his
25:12
Speaker 3: his life during that same period of time beyond that,
25:15
Speaker 3: then you can feel even more connected to the person
25:18
Speaker 3: and on that level.
25:20
Speaker 4: So that's what I was trying to do with the book.
25:21
Speaker 3: You know, but we never have unfortunate way at the time,
25:25
Speaker 3: we never readly a letter. You know, we never have
25:27
Speaker 3: cameras and we never have a camera. We never have
25:29
Speaker 3: my camera. Yeah, you know, photographers have cameras. We have cameras.
25:35
Speaker 1: With the process of going through all these photographs painful,
25:39
Speaker 1: what's the prop all kinds of memories.
25:41
Speaker 4: Yeah, no, but joyful, not painful.
25:43
Speaker 3: I mean melan Caliber Barby's at here and when you
25:46
Speaker 3: look at the photograph, he said, oh, what a young man.
25:48
Speaker 4: I'm fifty that I'm fifty two now.
25:50
Speaker 3: So when I look at him, He's like, look at
25:52
Speaker 3: this young guy, young kid, you know what I mean?
25:55
Speaker 3: Why you know, it's so that is a sad thing,
25:58
Speaker 3: but there's so much the joy overwegh that there's so
26:00
Speaker 3: much joy.
26:02
Speaker 4: I'm just looking at him and seeing him in that
26:06
Speaker 4: way were I know he was having a good time
26:08
Speaker 4: while he was doing it too.
26:10
Speaker 3: You know, he wasn't upsetaatey. He was having a good time.
26:12
Speaker 3: He enjoyed, he enjoyed his experience. You know, I said,
26:16
Speaker 3: so I feel happy about that that guy. I know
26:18
Speaker 3: he was having a good time doing it. You know,
26:20
Speaker 3: there's a photo we want to talk about the photo.
26:23
Speaker 4: Let's go to m pages ninety seven China and appeared
26:26
Speaker 4: ninety seven.
26:27
Speaker 3: If he can't come from it seems it seemed like
26:30
Speaker 3: at his home, in his home in the countryside. Oh yes,
26:34
Speaker 3: so this guy I used to we used to go
26:36
Speaker 3: to the country. This is the same time we used
26:38
Speaker 3: to go back with him on a trip. And this
26:41
Speaker 3: this is just the real Bob, you know, I said,
26:43
Speaker 3: this is and these are the people, this is where
26:46
Speaker 3: come from. These are his people, this is his roots.
26:49
Speaker 3: He was born on this land. And I mean, you
26:53
Speaker 3: can't see the guys he's coming to. He's either coming
26:56
Speaker 3: from the fielder going to the field, have some probably
26:59
Speaker 3: yeaman stuff in that crocus bag you have there.
27:01
Speaker 4: And everybody. I mean, Bubble was just one of the people.
27:04
Speaker 4: He was just one of them.
27:06
Speaker 3: And as you can see, and he's talking, he's eating
27:09
Speaker 3: a banner and antargions and some of the kids them,
27:12
Speaker 3: you know, and some of them have shoes on, some
27:13
Speaker 3: don't have shoes.
27:14
Speaker 4: On, and they're laughing.
27:18
Speaker 3: Well, you know, in communication with people, of good communication,
27:22
Speaker 3: skilling up with.
27:23
Speaker 4: People, and you know, yeah, and just having fun. He
27:26
Speaker 4: was en giant life. He's sitting and he's sitting on
27:28
Speaker 4: the stairs here on the next page of.
27:31
Speaker 1: The pictures is I mean he's so you can just
27:34
Speaker 1: tell how relaxing at Homie is.
27:37
Speaker 4: Yeah, yeah, yeah.
27:38
Speaker 1: But at the time this photo is taken, he's at
27:40
Speaker 1: the height of his fame.
27:41
Speaker 3: Yeah, man, after the assassination at so this is yeah,
27:46
Speaker 3: he's at the height right here. And this is as
27:49
Speaker 3: you see this, he's leaning On the other page, he's
27:51
Speaker 3: leaning up on the VW van. This is so we
27:53
Speaker 3: had Mama had a beat her and he he would
27:56
Speaker 3: drive this VW van.
27:58
Speaker 1: I think those are the only two kinds of cars
28:00
Speaker 1: they were in Jamaica in those years, BW beatles.
28:07
Speaker 4: So yeah, and yeah, some of these people, some of
28:10
Speaker 4: them is his cousins too. There's a couple of cousins
28:13
Speaker 4: in here.
28:14
Speaker 3: This is at home. And then this is the last
28:16
Speaker 3: photo from that series. I think if you go to
28:20
Speaker 3: the next page, is him sitting down stealing sentence.
28:23
Speaker 4: But he's alone. His guitars on.
28:25
Speaker 3: The floor here on the ground right here, and he's
28:27
Speaker 3: he's barefoot also right there.
28:29
Speaker 4: This photon is like, this is Bob.
28:33
Speaker 3: I think Bob was always like Alona, and he always
28:35
Speaker 3: felt alone although he had so many people around him.
28:38
Speaker 3: This is Bob, this is him and his like, this
28:41
Speaker 3: is his meditation, this is him like in his space,
28:44
Speaker 3: you know what I'm saying, alone and just vibing. I
28:47
Speaker 3: felt like he felt like he was always alone in
28:50
Speaker 3: some way, you know, and this kind of represents that
28:52
Speaker 3: loneliness in a way.
28:54
Speaker 2: We'll be back with more from Ziggy Marley after this
28:57
Speaker 2: quick break. We're back with the rest of Malcolm's conversation
29:04
Speaker 2: with Ziggy Marley. As an added bonus, you'll hear the
29:07
Speaker 2: Live Talks Los Angeles moderator take questions from the audience
29:11
Speaker 2: at the end of Malcolm's interview.
29:13
Speaker 1: I love some of these group shots. There's there's on
29:16
Speaker 1: page fifty, there's this fantastic group shot with the band
29:20
Speaker 1: The Yes.
29:21
Speaker 4: All right, this photo was taken in in England. I
29:25
Speaker 4: was here. I was there.
29:27
Speaker 3: We were on the way to Zimbabwe. Are coming from Zimbabwe.
29:32
Speaker 3: That's why the next quota of me, if you look
29:35
Speaker 3: at next quota, this is England too.
29:37
Speaker 4: So this is this is the time period.
29:38
Speaker 3: We're there, right before Zimbabwe, are after Zimbabwe. We were
29:42
Speaker 3: in Yeah, and I went on the trip with him,
29:45
Speaker 3: and you know, football as usual.
29:47
Speaker 1: I had not realized the extent to which she was
29:51
Speaker 1: a soccer First of all, I know your son, but
29:55
Speaker 1: I want you to be honest. How good was he?
29:57
Speaker 4: That was good.
29:58
Speaker 3: I mean I remember you played against me when I
30:01
Speaker 3: was in you know, sometime of appearance versus. I was
30:04
Speaker 3: on the soccer team in elementary school and I remember
30:07
Speaker 3: he came. There was a peer versus you know, students,
30:10
Speaker 3: and you know, so he came and I was like, yeah,
30:13
Speaker 3: I marked this guy.
30:13
Speaker 4: I'm marked. I have this guy. I'll take him.
30:16
Speaker 3: But he was fast, which is good, and he had
30:21
Speaker 3: a good kick, and he had a good player.
30:23
Speaker 4: He was a good player. Cousin. He idolized soccer player.
30:26
Speaker 3: One of his good friends was Alan skillcoll who was
30:28
Speaker 3: like the top Jamaican player at the time, and they
30:31
Speaker 3: were good friends.
30:32
Speaker 4: So, I mean, he kept fit.
30:34
Speaker 3: He kept his workout was like a professional soccer player workout,
30:39
Speaker 3: you know. Abdomena was you know, running on the sand
30:41
Speaker 3: playing soccer like that was that was that was a workout.
30:44
Speaker 3: There's a soccer player workout basically. And his friends, all
30:48
Speaker 3: of his friends were soccer players. I could play soccer.
30:52
Speaker 3: He was drawn towards you know people like that, you know, but.
30:55
Speaker 1: Zig to be a fan of of Jamaican soccer. Is
30:58
Speaker 1: it exercise in masochism? It's like the I know this
31:02
Speaker 1: from my cousins. Nothing is more painful than this team
31:05
Speaker 1: that just loses and loses and loses.
31:09
Speaker 4: About the funny things. And we have some of the
31:10
Speaker 4: best players in the world.
31:11
Speaker 3: But I don't know, cause I think we had some
31:14
Speaker 3: great players, but we have the best runner.
31:17
Speaker 4: Well, you always have the best runners, the fastest runner.
31:20
Speaker 1: That's but that's been true forever. I want to talk
31:23
Speaker 1: a little bit about your own music, and you must
31:27
Speaker 1: have thought about you had this extraordinary gift, which is
31:32
Speaker 1: the gift of your father and his legacy, but it
31:34
Speaker 1: also presents a challenge to kind of carve out your
31:38
Speaker 1: own identity in that. How do you approach that?
31:41
Speaker 3: When I go back and look at my history, right,
31:43
Speaker 3: our family history, so we have musicians and artists on
31:47
Speaker 3: both sides of my family. A lot of people always
31:50
Speaker 3: talk about my father, and like I said, my mother
31:52
Speaker 3: was always key in in everything.
31:55
Speaker 4: My mother was actually a keen Bob's success. We don't
31:58
Speaker 4: my mother. Bob wouldn't be as successful. I wouldn't even
32:00
Speaker 4: have what he has.
32:02
Speaker 3: She was the one who reintroduced him, or introduced him
32:05
Speaker 3: to the Rastafara and culture, which had a big impact
32:08
Speaker 3: on him mentally and spiritually. She's the one who when
32:13
Speaker 3: they didn't have nothing, She's the one who gave him
32:14
Speaker 3: somewhere to sleep, and she was the one who slept
32:17
Speaker 3: on the floor with him in the studios, who sold
32:19
Speaker 3: records with him on their head, riding their bicycles through
32:24
Speaker 3: through the streets. She was the one who got shut
32:26
Speaker 3: in her head the same time he got shut in
32:29
Speaker 3: the hand, and still showed up for the concert when
32:30
Speaker 3: other people are like, no, we're not going.
32:32
Speaker 4: She still had a bullet in her head. So her
32:35
Speaker 4: impact on his legacy.
32:38
Speaker 3: And where we are is I always remember that too,
32:41
Speaker 3: you know, when I think about my what you just
32:45
Speaker 3: asked me about, you know, making my own way or whatever,
32:48
Speaker 3: I remember that what I have is that just coming
32:51
Speaker 3: from my father's, coming from my mother, her grandfather, her father.
32:57
Speaker 4: My grandfather was a saxophone player. My father and mother and.
33:01
Speaker 3: His family were all church people, singers, they're singing churches,
33:06
Speaker 3: and so the spirit there's you know, it's sides. And
33:09
Speaker 3: for me, yes, I understand the question of my father
33:13
Speaker 3: and his his wit or his impact on what it
33:17
Speaker 3: would mean to someone like me, are son of any
33:20
Speaker 3: person like Bob, and and how we kind of who
33:25
Speaker 3: we who choose to be in the same line, and
33:27
Speaker 3: we're kind of have to overcome whatever that thing is.
33:30
Speaker 3: So for me never really was on the forefront of
33:33
Speaker 3: my mind, and it was on the peripherals.
33:37
Speaker 4: And I heard it. I heard him thing and I
33:38
Speaker 4: heard it, but I never paid much attention to it.
33:41
Speaker 3: I started seeking a spiritual part when I was a teenager.
33:47
Speaker 3: Somebody who will mental see it was evolved beyond that
33:52
Speaker 3: because I was looking.
33:54
Speaker 4: And it's because of my father.
33:55
Speaker 3: I was looking, you know, because of his spirituality led
34:00
Speaker 3: me into search for my spirituality.
34:03
Speaker 4: And so for me, I was with past.
34:06
Speaker 3: My ego of trying are thinking about are putting that
34:10
Speaker 3: pressure and myself to live up to the legacyr to
34:15
Speaker 3: make my own name or make my own way.
34:17
Speaker 4: I don't need to make my own way. I just
34:18
Speaker 4: need to be myself.
34:20
Speaker 3: That will that will solve all the problem that I
34:22
Speaker 3: will solve the problem that people is asking a question about.
34:25
Speaker 4: I don't need to like try to do it. I
34:27
Speaker 4: just need to be true.
34:30
Speaker 3: And then that that is what that's is, how it
34:31
Speaker 3: really is, and I also need to accept, and I
34:35
Speaker 3: do accept.
34:35
Speaker 4: That my father is a part of me.
34:38
Speaker 3: There's gonna be similarities, there's gonna be things that is like,
34:42
Speaker 3: you know, it's like Bob, you know what I mean.
34:44
Speaker 3: So we're not trying to this this this stands to
34:48
Speaker 3: ourself from him in that way either. So there's no
34:51
Speaker 3: that's suld that doesn't exist because I don't want to
34:53
Speaker 3: distance self from him because I am a part of him.
34:56
Speaker 4: Anyway.
34:56
Speaker 3: You cannot do that. He has a sound car running away.
34:59
Speaker 3: You're running away, but you can't run away from yourself,
35:02
Speaker 3: you know what I said. So that is how I
35:04
Speaker 3: That is how I really try. That is how I
35:07
Speaker 3: I when I analyze it myself after being asked that question,
35:11
Speaker 3: that is how I see myself having dealt with it
35:14
Speaker 3: in that way, you know.
35:15
Speaker 1: And yeah, yeah, no that's beautifully but yeah, well thank you, Ziggy.
35:21
Speaker 1: I think we have some questions. Ted is that right?
35:24
Speaker 1: But this is like I said, the book, The book
35:26
Speaker 1: was so lovely and took me back to so many
35:32
Speaker 1: kind of wonderful memories of that era in Jamaica and
35:36
Speaker 1: at a real thrill to talk to you about.
35:37
Speaker 5: It me too, same thing, all right, Thank you, Malcolm.
35:41
Speaker 5: The first question, Ziggy is have you been to Ethiopia
35:46
Speaker 5: and can you say something about your connection and your
35:49
Speaker 5: father's connection to Ethiopia.
35:52
Speaker 3: Yeah, we were in Ethiopia years back to celebrate I
35:54
Speaker 3: think it was a sixtieth or one of those birthdays above.
35:57
Speaker 3: Because obviously Ethiopia and it's history, we found a strong
36:03
Speaker 3: connection to the Rastafari culture. It's a deep story because
36:09
Speaker 3: as and I've probably catt it shot living in Jamaica
36:14
Speaker 3: during the times of after independence or you know where
36:18
Speaker 3: supposedly everywhere or whatever, the Christian faith and the faith
36:21
Speaker 3: that was forced upon us by the colonists was something
36:26
Speaker 3: that a sector of you know, Jamaican started to turn against, like,
36:31
Speaker 3: you know, this is a slave master thing.
36:33
Speaker 4: You know, white God.
36:34
Speaker 3: Why Jesus is a white guy with blue eyes and
36:36
Speaker 3: blah blah blah.
36:38
Speaker 4: Whereas who do we identify with?
36:41
Speaker 3: And so Marcus Gather really started the whole conversation and
36:45
Speaker 3: this and and said some stuff. You know, when Marcus
36:48
Speaker 3: that all black thing and the black oe and you know,
36:50
Speaker 3: your black identity, that was a strong inspiration. And then
36:54
Speaker 3: when Rastafari start using the same Bible that was given
36:58
Speaker 3: to them by the colonists to now interpret it in
37:01
Speaker 3: a way that put an emphasis on this king in
37:05
Speaker 3: Ethiopia as the real as the comment of another christ
37:09
Speaker 3: like individual in that philosophy. In that in that idea,
37:15
Speaker 3: a lot of people in Jamaica found are real independence,
37:20
Speaker 3: a full break from the colonialist not only the political independence,
37:24
Speaker 3: but the mental independence. And that was the rise of
37:28
Speaker 3: the Rastafarire culture and the connection with each opera with
37:31
Speaker 3: this king, who within the Bible is still represented because
37:36
Speaker 3: he is a lineage of King Solomon, and in the
37:40
Speaker 3: Bible say he will come again with the name King
37:43
Speaker 3: of Kings Ladah, lad.
37:44
Speaker 4: Can canna travel Judah.
37:46
Speaker 3: And this was the title that this man, this manner
37:48
Speaker 3: has And so that strong connection to Ethiopia is fort
37:51
Speaker 3: to that because Exodus in a barbad alum called Exodus,
37:55
Speaker 3: and Exodus obviously is a relation to the struggle of
37:59
Speaker 3: the israel people coming over of Egypt. And so we
38:02
Speaker 3: are a strong connection with that whole thing, with David
38:05
Speaker 3: and Salomon, and so Rasta far I come through that
38:10
Speaker 3: connection with its last I as I descend that of
38:13
Speaker 3: Solomon and Sotopia. Ittopia was a big It was like
38:18
Speaker 3: Jerusalem or Mecca, or whatever. You know that was Ethop
38:22
Speaker 3: was like that for for Rastafari culture.
38:26
Speaker 5: So your siblings have crafted their own music careers. The
38:32
Speaker 5: question or asks what is the relationship between your siblings
38:36
Speaker 5: both musically and and how you relate to each other today?
38:41
Speaker 3: So we grew up, all right, So we grew up,
38:42
Speaker 3: let's come back, or we grew now because it's very
38:45
Speaker 3: important because all right, my father was married to my mother,
38:48
Speaker 3: but he had children of a wed right because obviously
38:52
Speaker 3: the wed like thing is a colonial thing, and we
38:55
Speaker 3: don't deal with colonial things, you know, we are free
38:57
Speaker 3: or whatever. So that was my father's you know philosophy.
39:02
Speaker 3: After you learn things, they need us free yourself anyway.
39:05
Speaker 3: But so we always grew up.
39:07
Speaker 4: You know, when my.
39:08
Speaker 3: Father would take us to visit, like I'm the oldest son, right,
39:12
Speaker 3: so he would take me and sometimes my brother Stephen.
39:15
Speaker 3: You know there's a new there was a new baby
39:17
Speaker 3: or a new you know. He would drive us to
39:19
Speaker 3: the house where my brother, my other brother was who
39:23
Speaker 3: was not of my mother, and you know, he would
39:26
Speaker 3: visit and we would meet you came on here, meet
39:29
Speaker 3: Robbie and meet Rowan or whoever it was. And my
39:33
Speaker 3: mother now which is the most important part of this
39:38
Speaker 3: was always she was like the mother of all of them,
39:41
Speaker 3: like she was the mother of the children who she
39:43
Speaker 3: wasn't the mother of basically, so everybody would come to us,
39:47
Speaker 3: and you know, my mother would be the one who
39:49
Speaker 3: kind of take care of children, whether it was his
39:52
Speaker 3: child or not.
39:53
Speaker 4: And she is the one whenever.
39:55
Speaker 3: She never taught us to like be like vindictive our
39:57
Speaker 3: head for our reasentful of my father or of the
40:00
Speaker 3: other children. In no way, we were just one family.
40:04
Speaker 3: So that's all we that's the lesson we have learned.
40:06
Speaker 3: Nobody nobody told us that you shouldn't like that guy
40:09
Speaker 3: because he's not your mother's son.
40:11
Speaker 4: We never learned that. So that's all we still are today.
40:15
Speaker 3: We get together every now and again, but we have
40:17
Speaker 3: such a strong connection that we don't have that emotion,
40:21
Speaker 3: that deep emotional sadness are like oh I missed my thinger,
40:25
Speaker 3: oh my brother or something like that.
40:27
Speaker 4: You know, we never grew up that way.
40:28
Speaker 3: We grew up a little bit let's emotional, I would say,
40:30
Speaker 3: So we don't have that in us. But we do
40:33
Speaker 3: have a connection and I love for each other and
40:37
Speaker 3: I respect for each other. We never fight each other
40:39
Speaker 3: whenever you know, we'll understand each other, and everybody understand
40:43
Speaker 3: each other. So that's how we live musically. Me and
40:47
Speaker 3: my brother Steve, and we share a lot of music
40:49
Speaker 3: them man. Steve is the one who nurtured they man.
40:51
Speaker 3: We nurture each other music basically each of us. I
40:56
Speaker 3: helped Steve when he was young, Steve his younger brother,
40:59
Speaker 3: and we just keep nurturing each other.
41:01
Speaker 4: So that's how it is.
41:03
Speaker 5: A final question has to do and there are several
41:06
Speaker 5: people who ask questions about musical collaboration. Is there anyone
41:10
Speaker 5: you would have liked to see your father have collaborated
41:14
Speaker 5: with that he did not get to And how do
41:16
Speaker 5: you feel about musical collaborations?
41:18
Speaker 4: Who would you like to collaborate with?
41:21
Speaker 1: No?
41:21
Speaker 3: Musical collaboration is a good thing, right In some ways
41:25
Speaker 3: it is expanding each of the artists's reach to other audiences,
41:31
Speaker 3: which is good. It is showing a true example of
41:35
Speaker 3: unification in a way where it can be two different
41:37
Speaker 3: types of music blending together to bring to make something new.
41:43
Speaker 3: I'm a very shy person, so I don't like to
41:47
Speaker 3: ask people for a thing. I don't really like to
41:48
Speaker 3: ask people, you know, like hey, can you do this?
41:51
Speaker 4: You know?
41:52
Speaker 3: So I'm very shy like that, But for some reason
41:55
Speaker 3: this year, during the COVID thing, I've done the most
41:58
Speaker 3: collaborations I've ever done in ten years, which is very strange.
42:03
Speaker 3: It's a very interesting time for me. And how those
42:07
Speaker 3: come about, Well, the first colors that I did last
42:11
Speaker 3: year was from my kids album, and I think when
42:14
Speaker 3: I the children music, I find it's a have a
42:17
Speaker 3: different state of when I do the other type my
42:20
Speaker 3: other music.
42:21
Speaker 4: I don't know.
42:22
Speaker 3: Somehow I feel more more comfortable with asking somebody to
42:28
Speaker 3: do some for children music, and it has something to
42:32
Speaker 3: do with that we have a charitable element to it,
42:35
Speaker 3: and so I'm much more comfortable doing that.
42:37
Speaker 4: So I did.
42:37
Speaker 3: I did a few big collaborations with Ben Cheryl Crow,
42:42
Speaker 3: Alanis Morissett, Angelie Kid, Joe, tom Morello, Busta Rhymes. So
42:48
Speaker 3: my kids album other like a bog of collaboration, which
42:51
Speaker 3: we really enjoy doing. And how I work with collaboration
42:54
Speaker 3: is that we have a connection. It can just be
42:56
Speaker 3: like a corporate deal, it can be like, you know,
43:01
Speaker 3: just have a contractual relationship with it has to be
43:04
Speaker 3: something real, and that is why I haven't done a
43:07
Speaker 3: lot of collaboration, but a lot of these artists that
43:10
Speaker 3: are on that album I've done for years. We've done
43:12
Speaker 3: music together. You know, we talk and we text her
43:15
Speaker 3: or whatever. So that's how I like to do collaborations.
43:18
Speaker 4: For Bob. I can't respect late and that I do.
43:21
Speaker 4: I don't want to spect it.
43:22
Speaker 3: And that Bob, you know, he was in a collaborative band,
43:26
Speaker 3: the way as he collaborated Petere and Bonnie and I
43:29
Speaker 3: know Steven and that gentleman stage. I think the collaboration
43:33
Speaker 3: and there was also what's his name came back? See
43:36
Speaker 3: what's the beatle of guy name? George Harrison. So I
43:39
Speaker 3: feel like bob collaboration collaborational spirit was one where if
43:45
Speaker 3: he was on stage and somebody wanted to come up,
43:47
Speaker 3: he would welcome them up, collabor He's a he's a
43:50
Speaker 3: social person, come on up and seeing don't I'm not
43:53
Speaker 3: sure about record and I don't know about that, and
43:56
Speaker 3: there's no way I can't imagine it.
43:58
Speaker 4: I can't respect it on that.
44:00
Speaker 5: Well, thanks for joining us, Ziggy Marley, and thank you
44:03
Speaker 5: Malcolm glad Well for chatting with Ziggy.
44:06
Speaker 4: All right, malcom times man, take care see if guys.
44:09
Speaker 1: Pleasure Zicky Bye Bye.
44:13
Speaker 2: Thanks to Ziggy Marley for sharing so many fascinating details
44:17
Speaker 2: about his life with Bob.
44:19
Speaker 1: The book he.
44:19
Speaker 2: Curated, Bob Marley Portrait of the Legend, is available now
44:24
Speaker 2: and to hear a playlist of our favorite Bob and
44:26
Speaker 2: Ziggy Marley songs, check out the playlist we created at
44:29
Speaker 2: broken Record podcast dot com. Be sure to subscribe to
44:33
Speaker 2: our YouTube channel at YouTube dot com slash broken Record Podcast,
44:37
Speaker 2: where you can find extended cuts of new and old episodes.
44:41
Speaker 2: You can follow us on Twitter at broken Record. Broken
44:44
Speaker 2: Record is produced to help from Leah Rose, Jason Gambrel,
44:47
Speaker 2: Martin Gonzalez, Eric Sandler, and Jennifer Sanchez, with engineer and
44:52
Speaker 2: help from Nick Chafey. Our executive producer is Mei Lobel.
44:56
Speaker 2: Broken Record is a production of Pushkin Industries and he
44:59
Speaker 2: liked the show. Please remember to share, rate, and review
45:02
Speaker 2: us on your podcast app Our theme musics by Kenny Beats.
45:05
Speaker 2: I'm justin Richmond, Peace
45:09
Speaker 4: Skip the pin