A memoir by the woman who knew Bob Marley best--his wife, Rita. Rita Marley grew up in the slums of Trench Town, Jamaica. Abandoned by her mother at a very young age, she was raised by her aunt. Music ran in Rita's family, and even as a child her talent for singing was pronounced. By the age of 18, Rita was an unwed mother, and it was then that she met Bob Marley at a recording studio in Trench Town. Bob and Rita became close friends, fell in love, and soon, she and her girlfriends were singing backup for the Wailers. At the ages of 21 and 19, Bob and Rita were married. The rest is history: Bob Marley and the Wailers set Jamaica and the world on fire. But while Rita displayed blazing courage, joy, and an indisputable devotion to her husband, life with Bob was not easy. There were his liaisons with other women--some of which produced children and were conducted under Rita's roof. The press repeatedly reported that Bob was unmarried to preserve his "image." But Rita kept her self-respect, and when Bob succumbed to cancer in 1981, she was at his side. In the years that followed, she became a force in her own right -- as the Bob Marley Foundation's spokesperson and a performer in her reggae group, the I-Three. Written with author Hettie Jones, No Woman No Cry is a no-holds-barred account of life with one of the most famous musicians of all time. In No Woman No Cry, readers will learn about the never-before-told details of Bob Marley's life, including: How Rita practiced subsistence farming when first married to Bob to have food for her family. How Rita rode her bicycle into town with copies of Bob's latest songs to sell. How Rita worked as a housekeeper in Delaware to help support her family when her children were young. Why Rita chose to befriend some of the women with whom Bob had affairs and to give them advice on rearing the children they had with Bob. The story of the attack on Bob which almost killed the two of them. Bob's last wishes, dreams, and hopes, as well as the details of his death, such as who came to the funeral (and who didn't).

The legend of Bob Marley continues to grow. Since his death in 1981 he has gained an icon-like stature, especially in the Third World where his status is that of a redeemer-come-rebel hero. A deeply personal, private man, Bob Marley was born in 1945 with a poet's understanding of life, an asset in a land like Jamaica where a kind of magic realism holds sway. Even before he was five years old, Marley's abilities as a reader of palms was revealed. By the time he died at the age of 36, the apocalyptic predictions contained in his song lyrics were beginning to come true.;This book has been written with the cooperation of Marley's family and friends. Placing the musician's life in its context of the extraordinary island of Jamaica, it considers exactly who Bob Marley was, this man who rose from humble beginnings to become one of the most influential figures of the twentieth century. Equally at home with the ghetto gunmen or the rulers of nations, he was aware that his ability and confidence came from only one source: God Almighty, Jah Rastafari.;This book is illustrated throughout with over 500 pictures, many of which have never been seen before. They range from unique, intimate portrai

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

The history of the original Wailers - Tosh, Livingstone and Marley - as never before told.

The book is all about a woman’s struggle to keep her family and surrounding people happy. Swatilekha Dasgupta is that woman who used to work in post office and her husband Arnab works in an I. T. Farm. She has two sons. The elder son is Sayan and the younger son is Tojo who has autism. Tojo used to go for therapy in a center where other autistic patients also used to turn up. But a ravishment of an autistic girl named Debbie took place in the center by an instructor. So consequently Swati went against of it and she took hard steps so that the instructor can be punished. She wanted justice. She along with other parents lodged a FIR against that instructor whose name is Bimalendu Chakraborty. Eventually after fighting for a year Debbie got the justice with the help of Swati. Swati had to face lot of troubles in order to get a justice for Debbie since Mr. Bimalendu Chakraborty had lot of powers and political connection through which he wanted to defend him. Even Swati got a call from his people that if she wouldn’t withdraw the case then she will be killed. But Swati didn’t give any importance to this death call. She fought the battle and eventually won it. Mr. Chakraborty found guilty in the court and he had to accept life sentence.

In Skin Acts, Michelle Ann Stephens explores the work of four iconic twentieth-century black male performers—Bert Williams, Paul Robeson, Harry Belafonte, and Bob Marley—to reveal how racial and sexual difference is both marked by and experienced in the skin. She situates each figure within his cultural moment, examining his performance in the context of contemporary race relations and visual regimes. Drawing on Lacanian psychoanalysis and performance theory, Stephens contends that while black skin is subject to what Frantz Fanon called the epidermalizing and hardening effects of the gaze, it is in the flesh that other—intersubjective, pre-discursive, and sensuous—forms of knowing take place between artist and audience. Analyzing a wide range of visual, musical, and textual sources, Stephens shows that black subjectivity and performativity are structured by the tension between skin and flesh, sight and touch, difference and sameness.