Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / Ziggy Marley Reminisces About Jamaica and His Father

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Ziggy Marley Reminisces About Jamaica and His Father · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin. In the four decades since his death, Bob Marley
• 0:23
  Speaker 1: has become so iconic that it's hard to believe he
• 0:26
  Speaker 1: was ever a real person. Thankfully, in addition to the
• 0:30
  Speaker 1: wealth of music he left behind, there's also a trove
• 0:33
  Speaker 1: of photographs documenting his brief, impactful life. In twenty twenty,
• 0:39
  Speaker 1: to commemorate what would have been Bob's seventy fifth birthday,
• 0:43
  Speaker 1: Ziggy Marley curated a book of photographs of his dad
• 0:46
  Speaker 1: called Bob Marley Portrait of the Legend. Ziggy has of
• 0:50
  Speaker 1: course gone on to become a reggae icon in his
• 0:53
  Speaker 1: own right, and there's now an eight time Grammy winner,
• 0:56
  Speaker 1: a philanthropist, author, and keeper of his dad's legacy along
• 1:01
  Speaker 1: with the rest of the Marley family. Today we'll hear
• 1:04
  Speaker 1: Malcolm Goldwell and Ziggy talk about the turbulence and seventies
• 1:07
  Speaker 1: Jamaica by two opposing political parties. Ziggy recalls the night
• 1:13
  Speaker 1: gunman and ambushed the Marley house, shooting his mother and Bob,
• 1:17
  Speaker 1: both whom thankfully survived, and Ziggy answers the question we
• 1:21
  Speaker 1: all want to know, was it famously soccer obsessed Bob
• 1:25
  Speaker 1: Marley really any good on the field? This is broken
• 1:32
  Speaker 1: record liner notes for the digital Age. I'm justin Richmondon.
• 1:41
  Speaker 1: Here's Malcolm Gladwell and Ziggy Marley. This conversation was taped
• 1:45
  Speaker 1: live as part of the Live Talks Los Angeles series.
• 1:49
  Speaker 1: This book that you've done, with all of these photos
• 1:52
  Speaker 1: of your father, it had a kind of personal residence
• 1:55
  Speaker 1: for me because, as you may know, my mom as Jamaican,
• 1:59
  Speaker 1: and when I was growing up in the seventies, we
• 2:02
  Speaker 1: were good at Jamaica every year, every Christmas and all
• 2:05
  Speaker 1: these so many of these photos are from the Jamaica
• 2:08
  Speaker 1: that I remember as a kid. It's funny, It's like,
• 2:11
  Speaker 1: I mean, it's very personal for you, but in this
• 2:13
  Speaker 1: weird indirect way, HiT's personal for me too. You know
• 2:16
  Speaker 1: how when you look at the photo of Jamaica, you
• 2:18
  Speaker 1: can smell Jamaica. I could, I could smell I could
• 2:22
  Speaker 1: smell Jamaica again. It's just lovely, like took me back
• 2:25
  Speaker 1: to my childhood. What led you to want to do
• 2:27
  Speaker 1: this book? So over the years we've we've collected a
• 2:31
  Speaker 1: lot of photographs of Bob. I'm from different photographers and
• 2:35
  Speaker 1: stuff like that, and you know, usually I think the
• 2:39
  Speaker 1: photographs you see a Bob our iconic photographs, you know,
• 2:42
  Speaker 1: obviously the iconic images, and so for this we came
• 2:47
  Speaker 1: up on the same the fifth at birthday anniversary, and
• 2:50
  Speaker 1: I felt like, let's do some special for the seven fifth.
• 2:53
  Speaker 1: Let's take some of these photos we having our archives.
• 2:55
  Speaker 1: I'm put together a photo book. The family has them.
• 2:58
  Speaker 1: I've done one before, other people have done one. Then
• 3:00
  Speaker 1: I'm totally understand. Always when you're taught about you smell
• 3:03
  Speaker 1: Jamaica at the photo because doing the book like they
• 3:07
  Speaker 1: brought back to that time too, you know, when looking
• 3:09
  Speaker 1: at it, just it's like it's such a it's such
• 3:12
  Speaker 1: a real experience, a real thing that when I was
• 3:16
  Speaker 1: looking at the phot does it you know, everything else
• 3:19
  Speaker 1: kind of came back to me. Yeah. When you say,
• 3:22
  Speaker 1: I was just thinking logistically, you said, this is really
• 3:25
  Speaker 1: the family's book. There's so many of you. How on
• 3:28
  Speaker 1: earth did you guys? Did you guys coordinate picking all
• 3:31
  Speaker 1: of these photos? Did you have like a family council
• 3:35
  Speaker 1: where you're all sat down and went through them? No? No,
• 3:38
  Speaker 1: well I was given a task. I was given that
• 3:41
  Speaker 1: responsibility of going through the photos. That's all we do.
• 3:43
  Speaker 1: What kind of delegate responsibilities? Yeah, you know, everybody this
• 3:47
  Speaker 1: is your project. You have you have the family's approval
• 3:50
  Speaker 1: and blessing is your project. Go ahead and do it,
• 3:52
  Speaker 1: you know. Yeah, Well, tell me about your your memories
• 3:55
  Speaker 1: of your father. You so you're born in sixty eight,
• 3:58
  Speaker 1: so you when he dies, you're you're just a teenager.
• 4:02
  Speaker 1: Yeah it going on thirteen. Yeah, yeah, tell me tell
• 4:05
  Speaker 1: me a little bit about what you remember of your father.
• 4:08
  Speaker 1: Well everything, I mean, there's don't to forget really because
• 4:11
  Speaker 1: the limited experience we've had with him, you know, everything
• 4:15
  Speaker 1: was memorable and left her ever lasting impact on my psyche,
• 4:20
  Speaker 1: you know what I say. Everything. It was like going
• 4:22
  Speaker 1: to school, but a different type of school, you know.
• 4:25
  Speaker 1: Manna says like so growing up with Bob, I mean,
• 4:27
  Speaker 1: there was different elements. It was a fun side, happy side,
• 4:31
  Speaker 1: didn't player on the children. We would travel to the
• 4:33
  Speaker 1: countryside his hometown u every now and again. And it's
• 4:37
  Speaker 1: funny remember those days. They were no seat, bess, he
• 4:38
  Speaker 1: would have been a lap in the front seat or
• 4:40
  Speaker 1: seat that no, no, no, you're back. Yeah, I believe you.
• 4:44
  Speaker 1: I remember that. I'mbing started making the back of a
• 4:48
  Speaker 1: Volkswagen Beetle driven by my uncle. Yeah. Yeah, my mom
• 4:53
  Speaker 1: one of those two. She had one of those beatles too.
• 4:56
  Speaker 1: Yeah yeah, so um but I mean, and then there
• 5:00
  Speaker 1: was a serious side. It was what I saw was
• 5:02
  Speaker 1: another discipline. This money, a lot of work hard, this money,
• 5:05
  Speaker 1: a lot of discipline, this manner. He's from the countryside
• 5:08
  Speaker 1: and he's so rude rooted in his humility that for
• 5:15
  Speaker 1: him to come back to his home Toner, go back
• 5:17
  Speaker 1: to trench Stone in the ghetto, it was like, it's
• 5:20
  Speaker 1: just it's just Bob. This is just Bob. It's not
• 5:22
  Speaker 1: like Bob the Superstarabob or whatever, you know, It's just Bob.
• 5:27
  Speaker 1: So I mean lots of sucker, lots of football, sucker music,
• 5:31
  Speaker 1: sucker music. And the spiritual side of it was a
• 5:35
  Speaker 1: very powerful thing. And Babbabo's love having Bible, and he
• 5:38
  Speaker 1: would take me and my brother Stephen to these um
• 5:41
  Speaker 1: what you call him. It's like service, like you know
• 5:43
  Speaker 1: people go to church service, or people go to the
• 5:46
  Speaker 1: synical or the mosque. When we are these thing called
• 5:48
  Speaker 1: nia bingis and we would it would be like some
• 5:50
  Speaker 1: weird time at night. And it was such a mystical.
• 5:53
  Speaker 1: That's why I said it left such an impression on
• 5:55
  Speaker 1: me as a child, because it was such a ni
• 5:58
  Speaker 1: being was such a mystical thing, you know, smoke, fire, drums, singing, chanting,
• 6:04
  Speaker 1: and a whole spiritual vibe. So yeah, you know, we'll
• 6:07
  Speaker 1: go up that kind of environe where every memory really
• 6:10
  Speaker 1: is stuck with us, and the memory is stuck with
• 6:12
  Speaker 1: us more than just a memory. It stuck with us
• 6:15
  Speaker 1: as like I experience that as kind of mounded us
• 6:20
  Speaker 1: into who we are today. You know, who is are
• 6:24
  Speaker 1: really a heavy thing, you know, it's heavy. Yeah. The
• 6:27
  Speaker 1: other part of it that's fastened to me, as I
• 6:29
  Speaker 1: said earlier, was the Jamaica of that period, which is
• 6:34
  Speaker 1: Jamaica in the seventies. So many of these photos are
• 6:36
  Speaker 1: about Jamakaan the seventies and Jamaica the seventies is an
• 6:39
  Speaker 1: intense place. I mean, politics is manly in Siaga, and
• 6:45
  Speaker 1: there's violence, and there's gun cord and there's reggae, and
• 6:49
  Speaker 1: there's you know, Don Quarry winning gold medal. I mean,
• 6:53
  Speaker 1: it's just sort of like there's somber go, there's a kid.
• 6:55
  Speaker 1: It's just like so much was coming from rural Canada
• 6:58
  Speaker 1: where nothing happened, to a place where everything was happening. Talk.
• 7:03
  Speaker 1: Can you talk a little bit about that I mean
• 7:04
  Speaker 1: you're in the epicenter of this because your father was
• 7:07
  Speaker 1: at the was the kind of in the middle of
• 7:10
  Speaker 1: the of the Maelstrom. Yeah, there were certain minor posts
• 7:14
  Speaker 1: that I can like remember about the seventies, especially the
• 7:17
  Speaker 1: more um turbulent times politics. So we can't go back.
• 7:22
  Speaker 1: I remember, um, the night my appearance were a shot, right.
• 7:28
  Speaker 1: I remember before my mother left to go to rearses,
• 7:30
  Speaker 1: I were like, yo, moment tapent to earth. I wanted
• 7:32
  Speaker 1: to go. I wanted to go to resta and said no, one,
• 7:34
  Speaker 1: like you have school tomorrow. And I was like very
• 7:36
  Speaker 1: like angry that she didn't let me go to rearses.
• 7:39
  Speaker 1: And then, you know, looking back after you the shooter,
• 7:42
  Speaker 1: I think she probably it was a good decision, right.
• 7:44
  Speaker 1: So I remember that night. I remember she leaving and
• 7:49
  Speaker 1: we went to bed, right, But in the middle of
• 7:52
  Speaker 1: the night, some police came to the house and like
• 7:54
  Speaker 1: grabbed us up and like there's a lot of you know,
• 7:57
  Speaker 1: like kiosk and like let's go move through, let's go,
• 8:00
  Speaker 1: let's go get the kids and mout to the house
• 8:02
  Speaker 1: and they drove us to wherever we're going. We don't know.
• 8:05
  Speaker 1: I was just like this, I was like, what is
• 8:10
  Speaker 1: seventy seventy six, but you're about getting the assassination the
• 8:13
  Speaker 1: seventy six ye. So another more impactful experience I was
• 8:17
  Speaker 1: with my mom. Actually we're talking about the seventies and
• 8:20
  Speaker 1: what was going on there, the political upheaval and just
• 8:22
  Speaker 1: you know, the drama everything. So my so, my mother
• 8:26
  Speaker 1: pick us up from school. This was during the height
• 8:28
  Speaker 1: of the There was a big protest going on political
• 8:31
  Speaker 1: They were blocking the roads, fire burning, tires burning in
• 8:34
  Speaker 1: the streets. So my mom pick us up from school
• 8:37
  Speaker 1: in in the beetle, in the VW. She's driving us
• 8:40
  Speaker 1: home and we'll come up on a road back. Okay, okay,
• 8:44
  Speaker 1: I'll get home. We're not too far from home, but
• 8:46
  Speaker 1: we can't pass because these guys there, there's tires burning,
• 8:50
  Speaker 1: and these guys are like and I remember being in
• 8:53
  Speaker 1: the back seat. I'm watching my mother. She came over
• 8:55
  Speaker 1: to the car and she confronted these guys in a
• 8:57
  Speaker 1: very bridge brave. I mean it's brave what she did.
• 9:00
  Speaker 1: She like stand up, I say, yo, and I feel
• 9:02
  Speaker 1: you know what if I did? She cursed or chel
• 9:05
  Speaker 1: and she talked them down and they're kind of like
• 9:07
  Speaker 1: okay and kind of part of part of the road
• 9:09
  Speaker 1: back and we drove toe. So that's a that's another
• 9:12
  Speaker 1: memory that's like from from member that time and the
• 9:16
  Speaker 1: turbulent political situation. Those two my post is what I
• 9:21
  Speaker 1: go back to. But I mean there was good times too, man,
• 9:24
  Speaker 1: you know what I mean. I mean going back to
• 9:26
  Speaker 1: Change Stone playing football. You know, it was a very
• 9:30
  Speaker 1: double edged sword that period of time because it was
• 9:32
  Speaker 1: so good too divide the energy of the music. There's
• 9:36
  Speaker 1: so much life and there's so much revolutionary like change,
• 9:39
  Speaker 1: you know, Like it's the same time Bob and Claud
• 9:42
  Speaker 1: mass Up, who was a strong man or a strong
• 9:45
  Speaker 1: arm for the political function and booking Marshall, they came
• 9:49
  Speaker 1: together and we're starting for kind of this on the politics.
• 9:52
  Speaker 1: And I was there too. I met I met all
• 9:54
  Speaker 1: of these guys take life, and I knew who. I
• 9:56
  Speaker 1: knew what was happening um and and I kind of
• 9:59
  Speaker 1: but actually when I got later and I kind of
• 10:01
  Speaker 1: understand who these guys were because I just saw them
• 10:04
  Speaker 1: as guys as Bob's friends, and I know they were
• 10:06
  Speaker 1: meeting and talking and blah blah blah. But when I
• 10:09
  Speaker 1: grew up with area as these guys were some dangerous men.
• 10:12
  Speaker 1: They were just like some la. These guys were some
• 10:15
  Speaker 1: serious guys, you know. So that is yeah, that is
• 10:18
  Speaker 1: the world. That is the world, you know, marking at
• 10:20
  Speaker 1: the seventies. I remember, it's funny you talk about your
• 10:23
  Speaker 1: mother and that roadblock. My grandfather telling me that he'd
• 10:26
  Speaker 1: be driving down the road and they'd be a roadblock,
• 10:28
  Speaker 1: and he got really good at guessing whether it was
• 10:30
  Speaker 1: JLP or p NP, the two two parties. So he
• 10:34
  Speaker 1: take a look, he's take that's JLP. Wavers fished out
• 10:38
  Speaker 1: the window JLP. They're like waving through next BNP. But
• 10:47
  Speaker 1: you know, to your point, it's the world that bursts
• 10:51
  Speaker 1: this extraordinar amount of your father's music. I mean, it's
• 10:54
  Speaker 1: what gave his music such immediacy and urgency and power.
• 10:59
  Speaker 1: Did your father talk a lot about the cut of
• 11:01
  Speaker 1: the politics of Jamaica? Not, I mean not to me.
• 11:03
  Speaker 1: I mean I've I've overheard stuff and i've you know,
• 11:06
  Speaker 1: but never directed to us. Um. Yeah, I mean he's
• 11:09
  Speaker 1: spoken about it. Obviously, he's not a political person to say,
• 11:14
  Speaker 1: well him decide these politics are that political party or whatever.
• 11:17
  Speaker 1: I think he was a trait because his thing was Rastafari,
• 11:20
  Speaker 1: which is another thing. He says, need a P and
• 11:22
  Speaker 1: p r GP. It's like it's own thing. And what
• 11:26
  Speaker 1: was happening was that I love the mentioned cloud, the
• 11:29
  Speaker 1: master of Bocking, Marshal. These were the strong arms, they were,
• 11:32
  Speaker 1: These were the enforcers of the political party, the lead enforcers.
• 11:36
  Speaker 1: These guys was coming over at the Bob side. So
• 11:39
  Speaker 1: there was a whole other thing going on that the
• 11:42
  Speaker 1: political powers were losing their their muscle to this other
• 11:47
  Speaker 1: idea of rastafar Rai, and that a waso bubble was
• 11:50
  Speaker 1: really about really if it, I mean, if if he
• 11:52
  Speaker 1: was about politics, it was the political party of Rastafari,
• 11:56
  Speaker 1: which is the spiritual movement, you know, change, change how
• 12:00
  Speaker 1: things are. So I think that was his politics. Rastafari
• 12:03
  Speaker 1: was his politics. We could say, you know, yeah, I
• 12:06
  Speaker 1: was trying to think whether there's another musical artist who
• 12:10
  Speaker 1: has had the same kind of status in his or
• 12:14
  Speaker 1: her home country as your father did. I mean, I'm
• 12:17
  Speaker 1: remember that famous concert where the two political figures of
• 12:22
  Speaker 1: the day, Siaga and Manly didn't they shake hands on
• 12:26
  Speaker 1: stage at a at a Bob Marley concert, Yeah, the
• 12:30
  Speaker 1: One Love Peace concert. Yeah. I mean the analogy would
• 12:34
  Speaker 1: be as if Donald Trump and Joe Biden had kind
• 12:38
  Speaker 1: of hugged on stage at a Bruce Springsteen concert. Right,
• 12:41
  Speaker 1: that's the that's the clothes, I mean, but it doesn't
• 12:44
  Speaker 1: need that doesn't even capture it. I mean, this is
• 12:46
  Speaker 1: why I love the book so much, because it takes
• 12:49
  Speaker 1: us back to the time and the place. Yeah, there's
• 12:53
  Speaker 1: wonderful photos of the One Love concert with Siaga and
• 12:57
  Speaker 1: Michael Manley. Yeah, I remember that it was brother went
• 13:01
  Speaker 1: on stage because that's what we usually do. Like me,
• 13:03
  Speaker 1: I'm Stephen, Stephen, you would go on stage. We would
• 13:06
  Speaker 1: go on stage in that last time, which is usually
• 13:09
  Speaker 1: exdus those times was tough to the One of Peace concert.
• 13:13
  Speaker 1: So I remember, let me let me. I don't think
• 13:16
  Speaker 1: we're having the photos that appeared. But when Bob after
• 13:18
  Speaker 1: that assassination attempt, and Bob had come home for the
• 13:21
  Speaker 1: One of Peace concert, so we all went to the
• 13:23
  Speaker 1: airport and you know, there was totals of people at
• 13:26
  Speaker 1: the airport because no Bubo is coming back. And the
• 13:29
  Speaker 1: thing is that political strongmen for the parties, political parties
• 13:33
  Speaker 1: now we're on the CMPH as Bob, and so everyone
• 13:36
  Speaker 1: that supports these political parties now was supporting Bob and
• 13:40
  Speaker 1: and and these these guys who know have their own
• 13:43
  Speaker 1: ideas of peace and less political violence. So the airport
• 13:48
  Speaker 1: was full. And then I was there and I remember
• 13:51
  Speaker 1: the crowd and then pulled Bob and I'm there. I'm
• 13:54
  Speaker 1: outside now in this crowd, all mixed up with everybody.
• 13:58
  Speaker 1: And Bob get pulled into a car and I'm by
• 14:00
  Speaker 1: the window like this bub bub Why not he pulled
• 14:05
  Speaker 1: me through the window. Well, you knew you got left behind.
• 14:10
  Speaker 1: I got mixed up in a cart and it was
• 14:11
  Speaker 1: like there's could no and there was no one. I
• 14:14
  Speaker 1: had no nannier and no one body watching me. It's
• 14:18
  Speaker 1: important to remember in this moment in Jamaican history, it's
• 14:22
  Speaker 1: almost like the country is in a state of civil war.
• 14:26
  Speaker 1: There is violence everywhere. You know, the people are leaving
• 14:29
  Speaker 1: Jamaica in droves to come to the United States or
• 14:32
  Speaker 1: Canada to escape. It's a kind of a crazy period.
• 14:35
  Speaker 1: Well it's funny, not only as civil war is like
• 14:38
  Speaker 1: a geopolitical world going on too at the same time,
• 14:40
  Speaker 1: between the United States and Russia and Cuba. Because that
• 14:44
  Speaker 1: was the thing. That's why Edwards Siaga he was a buston.
• 14:47
  Speaker 1: He guarded from Boston University, and so there was the
• 14:50
  Speaker 1: geopolitical situation even elevated the stakes even more. Yeah and Bob,
• 14:57
  Speaker 1: I mean, Bob was in a serious position and nobody knew,
• 15:00
  Speaker 1: but he was in a serious position because of the
• 15:03
  Speaker 1: geopolitical element. Would would America allow a socialist government who
• 15:09
  Speaker 1: has tied with Cuba to have another which would then
• 15:13
  Speaker 1: mean Russia having a a more influenced in that region.
• 15:17
  Speaker 1: You know, America didn't want that. I would not allow that.
• 15:20
  Speaker 1: I know. There was this guy, this singer guy who
• 15:23
  Speaker 1: who people were drawn to and he was like she
• 15:25
  Speaker 1: had some political power too, because the political strong men
• 15:31
  Speaker 1: and their people were no drawn to this singer guy.
• 15:33
  Speaker 1: Who who's this singer guy? You know what I'm saying.
• 15:36
  Speaker 1: So the stakes are really high beyond what I think
• 15:41
  Speaker 1: we realized, or even Bob might have realized at the time,
• 15:44
  Speaker 1: our people around him. You know. We'll be back with
• 15:47
  Speaker 1: Malcolm Gladwell and Ziggy Marley after a break. We're back
• 15:54
  Speaker 1: with more from Ziggy Marley and Malcolm Gladwell. Can you
• 15:57
  Speaker 1: think of a musical figure who is an analogous to
• 16:00
  Speaker 1: your father? Yeah? I think more Fella Cut from Nigeria. Yeah,
• 16:07
  Speaker 1: and him he was. He was another one of my
• 16:10
  Speaker 1: I met him once, um chica, but he was he
• 16:14
  Speaker 1: was serious. He was really and I mean what he
• 16:16
  Speaker 1: didn't in Nigeria starting up against the government, the brutality
• 16:20
  Speaker 1: and the songs he wrote about that. Really he just
• 16:24
  Speaker 1: like my father had assassination and m I mean they
• 16:27
  Speaker 1: would read him and beat him and beat his mother
• 16:29
  Speaker 1: and you know type of things. So fella co would
• 16:33
  Speaker 1: be a good analogy to Bob, I think, yeah, yeah,
• 16:36
  Speaker 1: And there are a couple maybe a couple of South
• 16:38
  Speaker 1: African um maybe it would be a good analogy. But
• 16:43
  Speaker 1: when do you become aware that you want to make
• 16:46
  Speaker 1: your life in music? Is that something that comes to
• 16:48
  Speaker 1: you very young and looking at your father or afterwards
• 16:51
  Speaker 1: after his death? Now it come? It come before that.
• 16:54
  Speaker 1: I mean the first concert would play was a concert
• 16:56
  Speaker 1: that U Baba was on was the International Year of
• 16:59
  Speaker 1: the Children, what I hear? That was seventy nine. So
• 17:03
  Speaker 1: he and he wrote the first song that we have
• 17:05
  Speaker 1: a song. Yeah, So we was out of his music
• 17:08
  Speaker 1: and bab always call us to sing when he's writing it.
• 17:12
  Speaker 1: It comes sing we're playing, we want to go play,
• 17:14
  Speaker 1: telling us to come sing. You know. We started very
• 17:18
  Speaker 1: young with music. The thing I get from Barba musically speaking,
• 17:24
  Speaker 1: is a discipline and the focus and the seriousness in
• 17:28
  Speaker 1: which you approach the music, the respect that you gave
• 17:31
  Speaker 1: the music. So you have to put in the work
• 17:33
  Speaker 1: that shows you respect the music. It's not like it
• 17:35
  Speaker 1: does better and you know you have a sing the
• 17:37
  Speaker 1: right now, you have a practice, you know. So really
• 17:40
  Speaker 1: when we used to see that Rorstie and watch Bob
• 17:43
  Speaker 1: the Mirs, and I think for some reason I grew
• 17:46
  Speaker 1: up taking that ethic of hard work and and and
• 17:49
  Speaker 1: putting it into my own music of my life in general,
• 17:52
  Speaker 1: you know, without they exercise and or whatever. I think
• 17:55
  Speaker 1: seeing him just you know, grinding and like, well I'm
• 17:59
  Speaker 1: making it right. And the discipline, the discipline, you know
• 18:03
  Speaker 1: said the discipline is really a strung impact. I mean
• 18:07
  Speaker 1: is seeing that discipline as as growing up around that.
• 18:10
  Speaker 1: Can you talk a little bit about the way he
• 18:12
  Speaker 1: made music? I mean, was there was there a kind
• 18:15
  Speaker 1: of an approach that a particular approaching. Can you can
• 18:18
  Speaker 1: you give a lovess of an example of how he
• 18:20
  Speaker 1: worked and how he created? Well what I saw and
• 18:24
  Speaker 1: this was probably in Miami at his mother's house. Yeah,
• 18:28
  Speaker 1: but he always had his guitar around and a lot
• 18:31
  Speaker 1: of time it's mumbling, you don't it's not a song.
• 18:33
  Speaker 1: He does her ideas coming out, And for me, he
• 18:38
  Speaker 1: would always have fun with it. It doesn't like I
• 18:40
  Speaker 1: see us like writing and you know, it was always
• 18:43
  Speaker 1: like something very joyful in the process, was very joyful
• 18:48
  Speaker 1: and happy and people are own and laughing and you know,
• 18:52
  Speaker 1: did you getting the lyrics? Making fun? There's this one
• 18:55
  Speaker 1: another one thing he remember did release this one. It
• 18:57
  Speaker 1: was really this kind of like he did as a demo.
• 19:00
  Speaker 1: Really it's kind of like a really good time and
• 19:02
  Speaker 1: I remember him beating in Miami in his bedroom with
• 19:05
  Speaker 1: his Ovision guitar, and it was just having fun with
• 19:08
  Speaker 1: you in a real good time, you know, and people
• 19:12
  Speaker 1: you know, I'm a smoke split fun. It's just a
• 19:14
  Speaker 1: good energy, just a good vibe. You know. I'm that
• 19:16
  Speaker 1: says like And then I you never hear when the
• 19:18
  Speaker 1: sound compete. You only hear when it come on the record.
• 19:21
  Speaker 1: You hear pieces of with ideas of things, you know,
• 19:23
  Speaker 1: and then you hear a record, So you never I
• 19:26
  Speaker 1: never really him compete one song writing a song completely.
• 19:30
  Speaker 1: You know you're already here a little bit sent pieces
• 19:32
  Speaker 1: here and there. When your father became ill, was there
• 19:37
  Speaker 1: a sense of urgency with him? Did his work take
• 19:41
  Speaker 1: on him a new kind of seriousness? No, he was
• 19:44
  Speaker 1: always urgent from him. I mean he was urgent from
• 19:47
  Speaker 1: the get go, because there are a few examples of
• 19:51
  Speaker 1: that kind of energy of his urgency, of his work, ethic,
• 19:54
  Speaker 1: of his determination. So he was in the band Win
• 19:58
  Speaker 1: that with with Bonnie and Peter the Street guys. Right,
• 20:00
  Speaker 1: they were in his band and obviously have a world code.
• 20:04
  Speaker 1: Because occurring to what he said in an interview is
• 20:08
  Speaker 1: like and him said these words, he used my name,
• 20:10
  Speaker 1: he says, if if you would think when Ziggie wants
• 20:14
  Speaker 1: to go to school that he can say blah black.
• 20:16
  Speaker 1: He didn't want to work, He didn't want to do
• 20:18
  Speaker 1: this what you know, So he wants to work, you know,
• 20:21
  Speaker 1: he he wants to get things done. There was always
• 20:24
  Speaker 1: an urgency. There was never a lap time. There was
• 20:27
  Speaker 1: named a lap time. There was always music. There was
• 20:29
  Speaker 1: never and the like all right, let me take a vacation, No,
• 20:33
  Speaker 1: I let me go chill out. No, there's no. It
• 20:35
  Speaker 1: was like thirty six I mean how much year in
• 20:38
  Speaker 1: thirty six years of like pushing you know, pushing and
• 20:41
  Speaker 1: pushing and pushing it touring, never stopping, so that urgency
• 20:45
  Speaker 1: fee was always there. Of all of his music, what
• 20:49
  Speaker 1: are the songs that speak to you? Do most? The
• 20:52
  Speaker 1: song that gets minimost redemption song? Because I remember shout
• 20:56
  Speaker 1: haf Empass that was the album that was this album.
• 20:59
  Speaker 1: That song was was the emotional spear, the emotional arrow.
• 21:04
  Speaker 1: You know when you hear that song like that in
• 21:06
  Speaker 1: that time it so that memory of that song I
• 21:09
  Speaker 1: related to that time period and it was him and
• 21:12
  Speaker 1: his guitar. It's so it's so soulful and just the
• 21:16
  Speaker 1: final thing is just Himan guitar, and so that song
• 21:20
  Speaker 1: always kind of have an emotional impact on me. Yeah,
• 21:23
  Speaker 1: I wanted to know more about your childhood. There's a
• 21:26
  Speaker 1: lot of moving around. Your family went to London right
• 21:30
  Speaker 1: after the shooting, is that right? Yeah, but we we
• 21:33
  Speaker 1: never got to land on so all right, So chrenchedtwne
• 21:37
  Speaker 1: right changedtone where I was born in Chrenstone. We grew
• 21:39
  Speaker 1: up in a chrenchedtone look a bit and then moved
• 21:42
  Speaker 1: to Delaware where his modad moved I'd migrated to. So
• 21:45
  Speaker 1: we lived in Delaware, Willimanton and Delaware. I went to
• 21:48
  Speaker 1: school elementary school in Delaware for maybe a year or so.
• 21:52
  Speaker 1: Then we'll move back to Jamaica, but we'll move out
• 21:54
  Speaker 1: a chrenchedtone and moving to a place called Bulb, which
• 21:58
  Speaker 1: is a much better standard of living. It's like, you know,
• 22:01
  Speaker 1: not poor, but not rich. It's like the middle like
• 22:04
  Speaker 1: middle class or something like that in Jamaica at the time.
• 22:07
  Speaker 1: But it's funny. Within that middle class community where my
• 22:10
  Speaker 1: mother live, we would still with our grand aunt and
• 22:12
  Speaker 1: it was like we had to walk up the road
• 22:14
  Speaker 1: and up the hill and she was living in a
• 22:16
  Speaker 1: poor a poor class house with no water and no toilet,
• 22:20
  Speaker 1: no nothing. So right, we didn't that middle class thing.
• 22:24
  Speaker 1: There's right. If I went to my aunt, I was
• 22:25
  Speaker 1: I was like I was in another neighborhood. And so
• 22:28
  Speaker 1: we would stay with her a lot of times because
• 22:31
  Speaker 1: mommy and Daddy would go on tour and then we
• 22:33
  Speaker 1: would have to stay with grand and Auntie in that
• 22:35
  Speaker 1: hose there. And then after that we moved to an
• 22:39
  Speaker 1: upper middle class neighborhood now and then after after my
• 22:43
  Speaker 1: father passed up, when mother moved us into a more
• 22:45
  Speaker 1: upper class in the hills with a big hose and uh,
• 22:48
  Speaker 1: lots of rooms and stuff like that. So yeah, that
• 22:52
  Speaker 1: was a movement and we was fun as a child.
• 22:57
  Speaker 1: Everything was a great learning experience, you know, this life
• 23:00
  Speaker 1: with my family and my father and my mother and
• 23:02
  Speaker 1: what they were going through. I was also learning from.
• 23:05
  Speaker 1: At the same time, what's it like going back to
• 23:08
  Speaker 1: Jamaica now? Let down? I haven't been back in a
• 23:12
  Speaker 1: wire is still about going back when I went back
• 23:14
  Speaker 1: last time? Jamaica? I mean a lot, A lot has
• 23:16
  Speaker 1: changed another generation, A lot of the vibe has changed,
• 23:20
  Speaker 1: the oldlook has changed. You know. I'm I'm a lot
• 23:22
  Speaker 1: of more americanization of Jamaica. But the countryside is where
• 23:28
  Speaker 1: the magic still remains. You know. The city, the city's side,
• 23:32
  Speaker 1: I'm not so, I'm not. It's not a when we
• 23:35
  Speaker 1: when we were growing up in a city. It wasn't
• 23:37
  Speaker 1: like I met a big metropolitan turn city. It was
• 23:40
  Speaker 1: like a little town and it was still had that
• 23:43
  Speaker 1: vibe of like you're still in Jamaica, but no it
• 23:46
  Speaker 1: kind of city kind of get a little more hectic,
• 23:50
  Speaker 1: and so what the countryside is still weird. It's Jamaica
• 23:53
  Speaker 1: has a vibe to it. You don't really get anywhere
• 23:56
  Speaker 1: ees for me, you know, it's a very inspirational place. Um,
• 24:00
  Speaker 1: if you find the right spot, you know. Yeah, yeah, Fleming,
• 24:03
  Speaker 1: he wrote his ga bund stuff in Jamaica. Golden Eye,
• 24:07
  Speaker 1: Golden Eye is written in Jamaica. Well, and I new
• 24:10
  Speaker 1: pot Antonio. I think there's a there was a there
• 24:13
  Speaker 1: was a house he state at. Yes, that's right. Yeah, yeah,
• 24:16
  Speaker 1: so plenty inspiration. Yeah, it's easy to see why Jamaicans
• 24:20
  Speaker 1: have such an inflated sense of their own importance, because
• 24:24
  Speaker 1: the whole world comes running very very Yeah. We'll talk
• 24:31
  Speaker 1: about some of the photographs that mean the most to
• 24:33
  Speaker 1: you in this book. My first question was how many
• 24:36
  Speaker 1: of these photographs did you take, our other family members
• 24:39
  Speaker 1: take and how many of them are professional photographs? Well, um,
• 24:45
  Speaker 1: I didn't, We didn't take any. These aren't all photographs.
• 24:48
  Speaker 1: These are professional. There's there's this friend never who used
• 24:51
  Speaker 1: to do his lighting and designed his album, or don't
• 24:53
  Speaker 1: have some photos in there. But with the book, what
• 24:56
  Speaker 1: we what I try to do is um do a
• 24:59
  Speaker 1: balance of those type of professionals like iconic images and
• 25:02
  Speaker 1: with more like images of you know, just in real
• 25:05
  Speaker 1: life outside of the musician, outside of the stage, you know,
• 25:10
  Speaker 1: show some bad you know, show him beyond that and
• 25:14
  Speaker 1: as I said in the book, try and make people
• 25:16
  Speaker 1: even feel a deeper relationship too, because if you know
• 25:19
  Speaker 1: someone just as your eye can are as you as
• 25:22
  Speaker 1: a as a musician, I mean a singer, then that's
• 25:26
  Speaker 1: one we have known him. But if you can't get
• 25:27
  Speaker 1: a deeper understanding of his life during not seeing period
• 25:31
  Speaker 1: of time beyond that, then you can feel even more
• 25:34
  Speaker 1: connected to the person and that level. So that's what
• 25:38
  Speaker 1: I was trying to do with the book, you know,
• 25:39
  Speaker 1: but we never, unfortunate way at the time, we never
• 25:43
  Speaker 1: really do a letter. You know, we never have cameras
• 25:45
  Speaker 1: and we never have a camera. We never have a camera. Yeah,
• 25:48
  Speaker 1: you know, photographers have cameras. We don't have cameras. With
• 25:53
  Speaker 1: the process of going through all these photographs painful, what's
• 25:57
  Speaker 1: the brought back all kinds of memories, yah know, but
• 26:00
  Speaker 1: joyful not painful. I mean melan Calibo barbers are here.
• 26:04
  Speaker 1: And when you look at the photograph and say, oh,
• 26:05
  Speaker 1: what a young man, I'm fifty I'm fifty two, knows
• 26:08
  Speaker 1: so when I look at him, he's like, we get
• 26:10
  Speaker 1: this young guy, young kid, you know what I mean?
• 26:13
  Speaker 1: Why you know, it's so that is a sad thing.
• 26:15
  Speaker 1: But there's so much the joy overwear that. There's so
• 26:18
  Speaker 1: much joy. I'm just looking at him and seeing him
• 26:23
  Speaker 1: in that where where I know he was having a
• 26:25
  Speaker 1: good time while he was doing it too. You know,
• 26:28
  Speaker 1: he wasn't upstad he was having a good time. He enjoyed,
• 26:31
  Speaker 1: He enjoyed his experience, you know what I mean. I said,
• 26:33
  Speaker 1: So I feeling happier about that guy. I know he
• 26:36
  Speaker 1: was having a good time doing it. You know, there's
• 26:38
  Speaker 1: a fart we want to talk about the four Let's
• 26:40
  Speaker 1: go to the p ninety seven China ninety seven. If
• 26:45
  Speaker 1: you can't come from it seemed it seemed like at
• 26:48
  Speaker 1: his home, in his home in the countryside. Yes, so
• 26:52
  Speaker 1: this guy I used to we used to go to
• 26:54
  Speaker 1: the country to him. This is the same time we
• 26:56
  Speaker 1: used to go back with him and a chip and
• 26:58
  Speaker 1: this this is just a real barb. You know, I'm
• 27:00
  Speaker 1: gonna said, this is and these are the people, This
• 27:03
  Speaker 1: is where Bob come from. These are his people, this
• 27:05
  Speaker 1: is his roots. He was born on this land. And
• 27:10
  Speaker 1: I mean, you can't see the guys he's coming to.
• 27:13
  Speaker 1: He's either coming from the field. I go into the
• 27:15
  Speaker 1: field him have some properly yea my stuff in that
• 27:17
  Speaker 1: crocus bag you have there, and everybody. I mean, Bubba
• 27:21
  Speaker 1: is just one of the people. He was just one
• 27:23
  Speaker 1: of them. And as you can see, and he's talking,
• 27:26
  Speaker 1: he's eating a banner and I'm talking to some of
• 27:28
  Speaker 1: the kids them, you know, and some of them have
• 27:30
  Speaker 1: shoes and some do have shoes on and they're laughing
• 27:34
  Speaker 1: subab well, you know, in communication with people, of good
• 27:39
  Speaker 1: communications skill with people, and you know, yeah, and just
• 27:43
  Speaker 1: having fun. He was an entry in life. He's sitting
• 27:45
  Speaker 1: and he's sitting on the stairs here on the next
• 27:47
  Speaker 1: page over their pictures, is I mean he's so you
• 27:51
  Speaker 1: can just tell how relacs and at home he is. Yeah, yeah, yeah,
• 27:55
  Speaker 1: but at the time this photo is taking, he's at
• 27:58
  Speaker 1: the height of his fame. Yeah, man, after the assassination
• 28:02
  Speaker 1: at him. So this is yeah, he's at the height
• 28:04
  Speaker 1: right here. And this is as you see this, he's
• 28:08
  Speaker 1: leaning on the other page, leaning up on the v
• 28:10
  Speaker 1: W Van. This is so we had my mother had
• 28:12
  Speaker 1: a beat her and he he would drive this v
• 28:15
  Speaker 1: W van. I think those are the only two kinds
• 28:17
  Speaker 1: of cars they were in Jamaica in those years, Vans
• 28:21
  Speaker 1: and VW Beatles. So yeah, and yeah, some of these people.
• 28:27
  Speaker 1: Some of them his cousins too. There's a couple of
• 28:30
  Speaker 1: cousins in here. This is at the home and then
• 28:33
  Speaker 1: this is the last further from that series. I think, um,
• 28:37
  Speaker 1: if you go to the next bit, is him sitting
• 28:38
  Speaker 1: down still in sentence, but he's alone, his guitars on
• 28:42
  Speaker 1: the floor here on the ground right here, and he's
• 28:45
  Speaker 1: he's beer foot also right there. This fortune always like,
• 28:49
  Speaker 1: this is Bob. I think Bob was always like Alona,
• 28:52
  Speaker 1: and he always felt alone although he had so many
• 28:54
  Speaker 1: people around him. This is Bob. This is him, and
• 28:58
  Speaker 1: he's like, this is his meditation. This is him like
• 29:01
  Speaker 1: in his space, you know what I'm saying, alone and
• 29:03
  Speaker 1: us vibing. I felt like he felt like he was
• 29:05
  Speaker 1: always alone, um in somewhere, you know. This kind of
• 29:09
  Speaker 1: represent that lundiness in a way. We'll be back with
• 29:13
  Speaker 1: more from Ziggy Marley after this quick break. We're back
• 29:18
  Speaker 1: with the rest of Malcolm's conversation with Ziggy Marley. As
• 29:21
  Speaker 1: an added bonus, you'll hear the Live Talks Los Angeles
• 29:24
  Speaker 1: moderator take questions from the audience at the end of
• 29:27
  Speaker 1: Malcolm's interview. I love some of these group shots there's
• 29:31
  Speaker 1: there's on page fifty there's this fantastic group shot with
• 29:35
  Speaker 1: the band. Yes, all right, this fourth done was taken
• 29:39
  Speaker 1: in in England. I was here. I was there. Oh
• 29:42
  Speaker 1: really we were I underway to Zimbabwe. Are coming from Zimbabwe.
• 29:48
  Speaker 1: That's why the next quarter of me, if you look
• 29:51
  Speaker 1: at next quarter, this is England too. So this is
• 29:53
  Speaker 1: this is a time period. We're there, um right before Zimbabwe.
• 29:57
  Speaker 1: Are after Zimbabwe. We were in. Yeah. And I had
• 29:59
  Speaker 1: went on the trip with him, and you know, football
• 30:02
  Speaker 1: as he was. I had not realized the extent to
• 30:06
  Speaker 1: which she was a soccer First of all, I know
• 30:09
  Speaker 1: you're a son, but I want you to be honest.
• 30:11
  Speaker 1: How good was he? That was good. I mean I
• 30:14
  Speaker 1: remember he played against me when I was in um,
• 30:18
  Speaker 1: you know, sometimes an appearance versus I was on a
• 30:20
  Speaker 1: soccer team in elementary school and I remember he came.
• 30:24
  Speaker 1: There was appearance versus you know, students, and you know,
• 30:26
  Speaker 1: so he came and I was like, yeah, I'm marked
• 30:29
  Speaker 1: this guy. I'm marked. I have this guy. I'll take him. Um.
• 30:33
  Speaker 1: He was fast, which is good. Yeah, and he had
• 30:36
  Speaker 1: a good kick and you're a good player. He was
• 30:39
  Speaker 1: a good player, man, because he he id alized soccer player.
• 30:42
  Speaker 1: One of his good friends was Alan Skillicode, who was
• 30:44
  Speaker 1: like the top Jamaican player at the time, and they
• 30:46
  Speaker 1: were good friends. So I mean he kept fit, he
• 30:50
  Speaker 1: kept his workout. Was like a professional soccer player work card.
• 30:54
  Speaker 1: You know, I've dominas, you know, running on the sand
• 30:57
  Speaker 1: playing soccer like that was that was That was a
• 30:59
  Speaker 1: work called there's a soccer player work called basically, and
• 31:03
  Speaker 1: his friends, all of his friends were soccer players. I
• 31:05
  Speaker 1: could play soccer. Yeah, he was drawn towards you know,
• 31:09
  Speaker 1: people like that. You know, but Ziggy, to be a
• 31:12
  Speaker 1: fan of Jamaican soccer, is it exercising masochism. It's like
• 31:17
  Speaker 1: the I know that from my cousins. Nothing is more
• 31:19
  Speaker 1: painful than this team that just loses and loses and loses. No,
• 31:24
  Speaker 1: but the funny And we have some of the best
• 31:26
  Speaker 1: players in the world. But I don't know. I think
• 31:30
  Speaker 1: we had some great players and um, but we have
• 31:32
  Speaker 1: the best runner. You always have the best runners, the
• 31:35
  Speaker 1: fastest runner. That's all. But that's been true forever. Um.
• 31:38
  Speaker 1: I want to talk a little bit about your own music,
• 31:42
  Speaker 1: and you must have thought about you had this extraordinary
• 31:45
  Speaker 1: gift which is the gift of your father and his legacy,
• 31:49
  Speaker 1: but it also presents a challenge to kind of carve
• 31:53
  Speaker 1: out your own identity and that how have you approached that?
• 31:57
  Speaker 1: When I go back and look at my history, right,
• 31:59
  Speaker 1: our family history, so we have musicians and artists on
• 32:03
  Speaker 1: both sides of my family. A lot of people always
• 32:05
  Speaker 1: talk about my father and legas and my mother was
• 32:08
  Speaker 1: also key in um in everything. My mother was actually
• 32:12
  Speaker 1: a keen. Bob's success wet my mother, Bob wouldn't be
• 32:14
  Speaker 1: as successful. I wouldn't even have bod he has. She
• 32:18
  Speaker 1: was the one who reintroduced him or introduced him to
• 32:20
  Speaker 1: the Rassafara and culture, which had a big impact on
• 32:24
  Speaker 1: him mentally and spirituality. She's the one who when they
• 32:28
  Speaker 1: didn't have nothing, She's the one who gave him somewhere
• 32:30
  Speaker 1: to sleep, and she was the one who slept on
• 32:32
  Speaker 1: the floor with him in the studios, who sold records
• 32:35
  Speaker 1: with him on their heads, riding their bicycles through through
• 32:39
  Speaker 1: the streets. She was the one who got shut in
• 32:42
  Speaker 1: her head the same time he got shut in her hand,
• 32:44
  Speaker 1: and still showed up for the concert when other people
• 32:47
  Speaker 1: are like, no, we're not going. She still had a
• 32:49
  Speaker 1: bullet in her head. So her impact and his legacy
• 32:53
  Speaker 1: and where we are is I always remember that too,
• 32:57
  Speaker 1: you know, when I think about my um, what you
• 33:00
  Speaker 1: just asked me about, you know, making my own way
• 33:03
  Speaker 1: or whatever, I remember that what I have is that
• 33:06
  Speaker 1: just coming in from my father's, coming from my mother,
• 33:10
  Speaker 1: her grandfather, her father. My grandfather was a saxophone player.
• 33:15
  Speaker 1: My father, mother and his family were all church people, singers,
• 33:19
  Speaker 1: they're singing churches, and so the spirit there there's you know,
• 33:23
  Speaker 1: so it's both sides. And for me, yes, I understand
• 33:27
  Speaker 1: the question of my father and his wit or his
• 33:31
  Speaker 1: impact and what it would mean to someone like me
• 33:33
  Speaker 1: or a son of any person like Bob, and and
• 33:39
  Speaker 1: how we kind of who we who choose to be
• 33:42
  Speaker 1: in the same line of where kind of have to
• 33:44
  Speaker 1: overcome whatever that thing is. So for me never really
• 33:48
  Speaker 1: wasn't the forefront of my mind, and it wasn't the peripherals.
• 33:52
  Speaker 1: And I heard it. I heard him thing, and I
• 33:54
  Speaker 1: heard it, but I never paid much attention to it.
• 33:57
  Speaker 1: I started seeking a spiritual part when I was a teenager.
• 34:02
  Speaker 1: So my whole mentors see it was if I've being
• 34:07
  Speaker 1: that because I was looking and it's because of my father.
• 34:10
  Speaker 1: I was looking, you know, because I've his spirituality led
• 34:15
  Speaker 1: me into search for my spirituality. And so for me,
• 34:21
  Speaker 1: I was were past my ego of trying are thinking about?
• 34:24
  Speaker 1: Are putting that persure and myself to leave up to
• 34:29
  Speaker 1: the legacy, are to make my own name or make
• 34:32
  Speaker 1: my own way. I don't need to make my own way.
• 34:33
  Speaker 1: I just need to be myself. That will That will
• 34:36
  Speaker 1: sound all the problem that I would start, the problem
• 34:38
  Speaker 1: that people is asking a question about. I don't need
• 34:41
  Speaker 1: to like try to do it. I just need to
• 34:44
  Speaker 1: be true and then that that is what that is
• 34:47
  Speaker 1: all it really is. And I also need to accept
• 34:50
  Speaker 1: and I do accept that my father there's a part
• 34:53
  Speaker 1: of me. There's gonna be similarities, There's going to be
• 34:56
  Speaker 1: things that is like you know, it's like Bob, you
• 34:59
  Speaker 1: know what I mean. So we're not trying to this
• 35:03
  Speaker 1: um this stand to ourself from him in that way either.
• 35:05
  Speaker 1: So there's no that's child that doesn't exist because I
• 35:08
  Speaker 1: don't want to self from him because I am a
• 35:11
  Speaker 1: part of him. Anyway, you cannot do that. Yeah, that
• 35:13
  Speaker 1: sound car running away, you're running away, but you can't
• 35:16
  Speaker 1: run away from yourself. You don't mess. So that is
• 35:20
  Speaker 1: the way. That is howhy I really try. That is
• 35:22
  Speaker 1: howhy I when I analyzed it myself after being asked
• 35:25
  Speaker 1: that question, that is how I see myself. I've been
• 35:29
  Speaker 1: dealt with it in that way, you know. And yeah, yeah, no,
• 35:34
  Speaker 1: that's beautifully part. Yeah. Well, thank you, Ziggy. I think
• 35:37
  Speaker 1: we have some questions, ted is that right? But this
• 35:40
  Speaker 1: is like I said, the book. The book was so
• 35:43
  Speaker 1: lovely and took me back to so many kind of
• 35:49
  Speaker 1: wonderful memories of that era in Jamaica. And it's a
• 35:52
  Speaker 1: real thrill to talk to you about it me too,
• 35:54
  Speaker 1: same thing. All right, thank you, Malcolm. The first question,
• 35:58
  Speaker 1: Ziggy is have you been to Ethiopia and can you
• 36:02
  Speaker 1: say something about your connection and your father's connection to Ethiopia. Yeah,
• 36:08
  Speaker 1: we were in Ethiope our years back to celebrate I
• 36:10
  Speaker 1: think it was a sixth tieth one of those birthdays
• 36:12
  Speaker 1: are Bob. Because obviously Ethiopia and it's history. We found
• 36:18
  Speaker 1: a strong connection to true um, the Rastafari culture. It's
• 36:22
  Speaker 1: a deep story because and I've probably living in Jamaica
• 36:30
  Speaker 1: during the times of after independence, you know, where it's
• 36:33
  Speaker 1: a post slaveryhere or whatever. The Christian faith and the
• 36:36
  Speaker 1: filth that was forced upon us by the colonist was
• 36:41
  Speaker 1: something that a sector of you know, Jamaica and started
• 36:45
  Speaker 1: to turn against, like, you know, this is a slave
• 36:47
  Speaker 1: master thing. You know, why God, why Jesus is a
• 36:51
  Speaker 1: white guy with blue eyes and blah blah blah. Whereas, oh,
• 36:54
  Speaker 1: who do we identify with it? And so Marcus Gather
• 36:59
  Speaker 1: really started our whole conversation and this someone and said
• 37:02
  Speaker 1: some stuff. You know, when Marcus was black thing and
• 37:04
  Speaker 1: the black one and you know your black identity, that
• 37:07
  Speaker 1: was a strong inspiration. And then when Rastafari start using
• 37:12
  Speaker 1: the same Bible that was given to them by the colonists,
• 37:15
  Speaker 1: to know, interpret it in a way that put an
• 37:18
  Speaker 1: emphasis on this king in Ethiopia as the real as
• 37:23
  Speaker 1: the common of another christ like individual in that philosophy,
• 37:29
  Speaker 1: and that in that idea, a lot of people in
• 37:32
  Speaker 1: Jamaica found are really independence, a full break from the
• 37:36
  Speaker 1: colonialist not only the political independence, but the mental independence.
• 37:42
  Speaker 1: And that was a rise of the Rastafaria culture and
• 37:45
  Speaker 1: the connection with Ethiopa, with this king who within the
• 37:48
  Speaker 1: Bible is still represented because he is a lineage of
• 37:53
  Speaker 1: King Salomon and in the Bible say he will come
• 37:57
  Speaker 1: again with the name King of Kings, Lord of Lord,
• 38:00
  Speaker 1: Cankernana Tribal Judah. And this was the title that this manner,
• 38:03
  Speaker 1: this manner has And so that strong connection to Ethiopia
• 38:07
  Speaker 1: is far true that because Exodus, you know Barbad Alum
• 38:10
  Speaker 1: called Exodus, and Exodus obviously is a relation to the
• 38:14
  Speaker 1: struggraph is the israel people coming over to Egypt. And
• 38:18
  Speaker 1: so we had a strong connection with that whole thing,
• 38:20
  Speaker 1: with David and Salomon and um. So Rastafari come through
• 38:25
  Speaker 1: that connection with its last i as a descent that
• 38:28
  Speaker 1: of Salomon, and so Eupia was a big It was
• 38:33
  Speaker 1: like oh um, Jerusalem or Mecca or whatever, you know, Yeah,
• 38:37
  Speaker 1: that was it was like that for for Rastafari culture.
• 38:42
  Speaker 1: So your siblings have crafted their own music careers. Um,
• 38:47
  Speaker 1: the questioner asks, what is the relationship between your siblings
• 38:52
  Speaker 1: both musically and and how you relate to each other today?
• 38:56
  Speaker 1: So we grew up, all right, So we grew up.
• 38:58
  Speaker 1: Let's come back home. We grew no. Because it's very
• 39:01
  Speaker 1: important because all right, my father was married to my mother,
• 39:03
  Speaker 1: but he had children with a wedlock, right, because obviously
• 39:08
  Speaker 1: the wedlock is a colonial thing, and we don't deal
• 39:11
  Speaker 1: with colonial things, you know, we're free or whatever. So
• 39:15
  Speaker 1: that was my father's you know philosophy. After you learned things,
• 39:18
  Speaker 1: they need us free yourself anyway. But so we always
• 39:22
  Speaker 1: grew up, you know, when my father would take us
• 39:25
  Speaker 1: to visit, like I'm the oldest son, right, so he
• 39:28
  Speaker 1: would take me and sometime my brother Stephen, you know
• 39:31
  Speaker 1: there's a new there was a new baby or a
• 39:32
  Speaker 1: new you know, he would drive us to the host
• 39:35
  Speaker 1: where where my brother, my other brother was who was
• 39:39
  Speaker 1: not of my mother, and you know, he would visit
• 39:42
  Speaker 1: and we would meet, you know, came on here, I
• 39:44
  Speaker 1: meet Robbie or meet Roan or whoever it was. And
• 39:49
  Speaker 1: my mother, now, which is the most important part of this,
• 39:53
  Speaker 1: was always she was like the mother of all of them,
• 39:56
  Speaker 1: like she was a mother of the children who she
• 39:59
  Speaker 1: wasn't the mother of basically, so everybody would come to us,
• 40:02
  Speaker 1: and you know, my mother would be the one who
• 40:05
  Speaker 1: kind of take care of bob children, whether it was
• 40:07
  Speaker 1: his child or not. And she is the one whenever
• 40:10
  Speaker 1: she never taught us to like be like vindictive, our
• 40:13
  Speaker 1: head full, our reason full of my father, are of
• 40:16
  Speaker 1: the other children in no way we were just one family.
• 40:19
  Speaker 1: So that's how we that's the lesson we have learned. Nobody.
• 40:22
  Speaker 1: Nobody taught us that. Or you shouldn't like that guy
• 40:25
  Speaker 1: because he's not your mother's son. We never learned that.
• 40:28
  Speaker 1: So that's all we still are today. We get together
• 40:31
  Speaker 1: every now and again, but we have a such a
• 40:33
  Speaker 1: strong connection that we don't have that emotion, that deep
• 40:37
  Speaker 1: emotional sadness are like oh I missed my thing or
• 40:41
  Speaker 1: my brother or something like that. You know, we never
• 40:43
  Speaker 1: grew up that way. We'll go up a little bit
• 40:45
  Speaker 1: less emotional, I would say. So we don't have that
• 40:47
  Speaker 1: in us. But we do have a connection um and
• 40:50
  Speaker 1: a love for each other and I respect for each other.
• 40:54
  Speaker 1: We never fight each other whenever, you know, we'll understanding
• 40:56
  Speaker 1: each other and everybody understand each other. So that's how
• 41:01
  Speaker 1: we live. Musically, me and my brother Steve, and we
• 41:04
  Speaker 1: share out of music Demon. Steve is the one who
• 41:06
  Speaker 1: nurtured Demon. We nurtured each other music basically, each of us.
• 41:11
  Speaker 1: I hope Steve when he was young, Steve that his
• 41:14
  Speaker 1: younger brother, and we just keep nurturing each other. So
• 41:17
  Speaker 1: that's how it is. Final question has to do and
• 41:21
  Speaker 1: there are several people who ask questions about musical collaborations.
• 41:25
  Speaker 1: Is there anyone you would have liked to see your
• 41:27
  Speaker 1: father have collaborated with that he did not get to
• 41:31
  Speaker 1: And how do you feel about musical collaborations? Who would
• 41:34
  Speaker 1: you like to collaborate with? No? Musical collaborations are good
• 41:38
  Speaker 1: thing right? In some ways it is expanding each of
• 41:43
  Speaker 1: the artists reach to other audiences, which is good. It
• 41:48
  Speaker 1: is showing a true example of unification in a way
• 41:52
  Speaker 1: where it can be two different types of music blending
• 41:54
  Speaker 1: together to bring to make something new. I'm a very
• 41:59
  Speaker 1: shy person, so I don't like to ask people a thing.
• 42:03
  Speaker 1: I don't want to really like to ask people, you know,
• 42:05
  Speaker 1: like hey can you do this something? You know? So
• 42:07
  Speaker 1: I'm very shy like that. But for some reason this year, UM,
• 42:12
  Speaker 1: during the COVID thing, I've done the most collaborations I've
• 42:15
  Speaker 1: ever done in ten years, which is very strange. It's
• 42:19
  Speaker 1: a very interesting time for me, um and how those
• 42:23
  Speaker 1: come about. Where the first collaborations that I did last
• 42:26
  Speaker 1: year was from my kids album, and I think when
• 42:29
  Speaker 1: I the children music, I find it's a different a
• 42:32
  Speaker 1: different state of mind. When I do the other other music.
• 42:37
  Speaker 1: I don't know. Somehow I feel more um more comfortable
• 42:42
  Speaker 1: with asking somebody to do something for children music, and
• 42:46
  Speaker 1: it has something to do with that we have a
• 42:48
  Speaker 1: charitable element to it, um, and so I'm much more
• 42:52
  Speaker 1: comfortable doing that. So I did. I did a few
• 42:54
  Speaker 1: big collaborations with Um being harp Sheryl Cruel, Alanis Morris said,
• 42:59
  Speaker 1: Angelie Kidjo, Tommarella, Bust Rhymes. So my Kids album over
• 43:04
  Speaker 1: like a bag of collaboration, which we really enjoy doing.
• 43:07
  Speaker 1: And how I work collaboration is that we have a
• 43:10
  Speaker 1: favorite connection. It can just be like a corporate deal.
• 43:14
  Speaker 1: It can't be like, you know, just have a contractual relationship.
• 43:19
  Speaker 1: It has to be something real. And that is why
• 43:22
  Speaker 1: I haven't done a lot of collaboration. But all of
• 43:24
  Speaker 1: these artists that are on that album I've done for years.
• 43:27
  Speaker 1: We've done music together. You know, we talk and we
• 43:30
  Speaker 1: take or whatever. So that's how I like to do collaborations.
• 43:33
  Speaker 1: For Bob, I can't speak of late and that I do.
• 43:37
  Speaker 1: I don't want to speak later. And that Bob, you know,
• 43:40
  Speaker 1: he was in a collaborative band the way as he
• 43:42
  Speaker 1: collaborated Peter and Bonny and I know, Um, Stephen won
• 43:46
  Speaker 1: the Johnleman stage. I think the collaboration and there was
• 43:49
  Speaker 1: also what's his name came back sage what the beatle
• 43:52
  Speaker 1: dynam George Harrison. So I feel like, um Bob collaboration,
• 43:58
  Speaker 1: collaborational spirit was one where if he was on stage
• 44:01
  Speaker 1: and somebody wanted to come up, he would well come
• 44:03
  Speaker 1: them up. Collab. He's a he's a social person, come
• 44:06
  Speaker 1: on up and seeing. I don't nature about caught in. Um,
• 44:10
  Speaker 1: I don't know about that, and there's no way I
• 44:12
  Speaker 1: can't imagine it. I can't have a speak of it
• 44:14
  Speaker 1: on that. Well, thanks for joining us, Ziggy Marley, and
• 44:18
  Speaker 1: thank you Malcolm Gladwell for chatting with Ziggy. All right,
• 44:22
  Speaker 1: welcome times, Well take care, let see if guys. Thanks you, Zicky,
• 44:25
  Speaker 1: bye bye. Thanks to Ziggy Marley for sharing so many
• 44:31
  Speaker 1: fascinating details about his life with Bob. The book he currated,
• 44:36
  Speaker 1: Bob Marley Portrait of the Legend is available now and
• 44:39
  Speaker 1: to hear a playlist of our favorite Bob and Ziggy
• 44:42
  Speaker 1: Marley songs, check out the playlist we created at Broken
• 44:45
  Speaker 1: record podcast dot com. Be sure to subscribe to our
• 44:49
  Speaker 1: YouTube channel at YouTube dot com slash Broken Record Podcast,
• 44:52
  Speaker 1: where you can find extended cuts of new and old episodes.
• 44:56
  Speaker 1: You can follow us on Twitter at broken Record. Broken
• 45:00
  Speaker 1: Records produced Helpful Lea Rose, Jason Gambrel, Martin Gonzalez, Eric Sandler,
• 45:05
  Speaker 1: and Jennifer Sanchez, with engineer and help from Nick Chafee.
• 45:09
  Speaker 1: Our executive producer is miil Bell. Broken Record is a
• 45:12
  Speaker 1: production of Pushkin Industries and if you like the show,
• 45:16
  Speaker 1: please remember to share, rate, and review us on your podcast.
• 45:18
  Speaker 1: To app our theme music spect Kenny Beats, I'm justin
• 45:21
  Speaker 1: Richmond Peace