Bob Marley Essay -- Art

move MarleyClemson University There are hundreds of thousands of people screaming for you on stage. The Prime attend and leader of the opposition sit in the arena. Many thought this was a sight that would never be seen, but it was just the sight curtsy Marley had in front of him at the One Love Peace design in Kingston Jamaica (April, 1978). This was his branch appearance back in Jamaica in 14 years, an amazing show culminating with bobsleigh joining the hands of debate political figures onstage, and holding them firmly together. A hero and an icon sequence living, loading dock Marley continues to influence people 25 years after his ending (African Service News). His music and lyrics worked as the rhetoric of the Rastafarian movement against oppression, development and racism in Jamaica. Using metaphors to describe the hardships of the political fights of Jamaicans and Africans Marley established himself as the spokesman of a race and culture. The Rastafari religion, the h eart of Bobs music, based itself in belief of Jah, which was a metaphor for a god of goodness and love. Jah was the labour fighting against the oppression from Babylon, the destructive force. Metaphors of oppression and freedom, such as bondage and birds, depict social problems and ways of liberation (Jensen). Many of Marleys lyrics include these references and therefore fell into the latitude of acceptance, explained in Muzafer Sherifs studies on fond Judgment Theory (Griffin), of his Rastafari listeners. When Marley spoke of things that were in the latitude of acceptance of his audience, his nomenclature impacted them listeners incredibly. If you get down and quarrel everyday/Youre saying prayers to the devil, I say/ Why not help one another on the way/ Make it much easier/ Jah love, Jah love, protect us Positive Vibrations. Marley strived to increase awareness among the people of Jamaica, but his emergeularity didnt end there. His music disruption through the hearts of Eur opeans, Africans, and Americans. Lyrics and music work together to offer messages comprised of both theoretical and emotional content through the constructs of realistic experience (lyrics) and virtual time (music). Both virtual experience and virtual time must exist for music to function rhetorically (Sellnow). However it can sometimes work out otherwise. In fact, it was the bass heavy style of Bob Marleys new age r... ... when it realises you feel no pain. So hit me with music, hit me with music now, brutalize me with music Bob Marley Feb. 6, 1945 May 11, 1981 Bibliography Bob Marley Continues to Touch Peoples Hearts 20 Years After. (August 7, 2002) Africa News Service, p1008219u1157 Griffin, E. (2003). A first look at communication theory. 4th ed. Boston, MA McGraw Hill. Hakanen, E.A., Wells, A., Ying, L.L.S., (1999). Music pickaxe for emotional use and management by Hong Kong adolescents. Asian Journal of Communication. 9 (1), 72-85. King, Stephen, Jensen, Richard (1995). Bob Marleys Redemption Song the rhetoric of reggae and Rastafari. Journal of Popular Culture, v29 n3 p17(20) Napier, Kristine. (Nov-Dec 1997) Antidotes to pop culture poison. Policy Review, n86 p12(3) Sellnow, Deanna D. (1999). Music as persuasion Refuting hegemonic Masculinity in He Thinks Hell Keep Her. Womens Studies in Communication. 22 (1, Spring), 66-84. Sellnow, Deanna, and Sellnow, Timothy. (2001). The illusion of life rhetorical perspective An integrated approach to the study of music as communication. censorious Studies in Media Communication. 18 (4, December), 395-415.