postado no youtube por vainecius
Existe essa outra reportagem com cenas bem parecidas com o vídeo acima.
postado no youtube por DubwiseGarage
A diferença é que nesse temos as opiniões de Milton Nascimento, Simone e Baby Consuelo.
Quer saber sobre como foi a passagem de Bob pelo Brasil? Dois sites acho que te dão informação suficiente:
Bob Marley esteve no Brasil uma única vez, em março de 1980, e jogou no campo de Chico Buarque
Bob Marley, Junior Marvin (guitarrista dos Wailers), Jacob Miller vocalista do Inner Circle), Chris Blackwell (diretor da Island Records) e a esposa Blackwell, Nathalie, vieram ao Brasil em um jato particular para participar da festa que inaugurou as atividades do selo alemão Ariola no pais. A Island, gravadora original dos Wailers, era então um selo da Ariola. Bob interrompeu as sessões de gravação que resultariam no álbum 'Uprising' para vir ao Brasil. Na descida em Manaus, para reabastecimento, o jato ficou retido por algumas horas. O governo militar certamente não estava vendo com bons olhos a vinda daquela comitiva enfumaçada. Depois de alguma negociação as autoridades acabaram cedendo, mas sem liberar vistos de trabalho, o que desestimulou os que pensaram em improvisar uma apresentação deles em solo brasileiro. Depois ainda desceram em Brasília e rapidamente decolaram em direção ao Rio de Janeiro.
Chegaram no aeroporto Santos Dumont às 18h30m do dia 18 de março, terça-feira. Logo foram cercados pelos repórteres. Bob era mais conhecido na época por ser o autor de "No Woman No Cry", música que havia vendido 500 mil copias na versão de Gilberto Gil. Suas primeiras declarações foram sobre a música brasileira: "O samba e o reggae são a mesma coisa, tem o mesmo sentimento das raízes africanas". Sobre Jah, o Deus do rastafarianismo ele apenas disse: "É como o seu Deus, pouca gente O conhece". Cansado da viagem, o grupo rumou logo para o Copacabana Palace, onde ficariam hospedados.
Continue lendo aqui.
E esse está em inglês, mas aí se necessário você joga no tradutor do google:
“Ariola had scheduled a press conference with Bob for 10 ‘o clock in the morning at the Copacabana Palace lobby. Everyone arrived late (I was even later, it was a rainy day) when Marley and the band were already returning to their rooms, completely pissed off, of course. The only reporter who arrived at the time was Rick Goodwin, who worked for the Pasquim (a left wing weekly journal which was very present during the dictatorship years in Brazil).
Well, as there was the football scheduled at Chico Buarque’s field, I went with Maurício Valladares to Recreio dos Bandeirantes that afternoon. During a break in game, I approximated Bob and explained that I worked for Jornal do Brasil (Revista de Domingo) and wanted to do an exclusive interview with him. Maurício even took a picture of us dealing sat on the field. I’m not quite sure but I think Jacob Miller influenced Bob’s decision because he treated us very well in the hotel, later. Finally Bob agreed and gave his hotel room number at the Copa. We went to the hotel. Me, Maurício and Jacira, my son’s babysiter who was a fervorous Marley fan. We knocked the door and Junior Marvin opened it and guided us to Bob’s room. He showed up with high smile on his face holding a mandolim and letting a thick ganja smoke flow through the corridor.
Marley pleasurly looked at Jacira and invited us in. Inside, there were Traffic’s drummer Jim Capaldi and Jacob Miller. Miller immediately ofered us some chairs and opened a pack full of marijuana on the table. “Weed – he said offering us lots of paper – papers, help yourself.
I thanked him and started paying atention at the jam Bob was doing with Capaldi. Bob playing the mandolim and Jim just clapping. Jim wouldn’t stop saying: “mandolim theme, mandolim theme”, while Bob played the instrument out of tune, laughing a lot. Needless to say that everyone was really high… Minutes later, everyone stayed at the living room and I went with Bob and Maurício to a bedroom (Jacira went outside with Jacob Miller, who was at that time madly in love with her but very respectfully treating her in a very different way from the Brazilian…).
We sat on the bed and started talking. I couldn’t understand a word he was saying. You can imagine how it feels to interview a Jamaican after many spliffs, with the patois even stronger. I asked a lot of things though, hoping that later, while listening to the tape, I could understand what hell he was talking about. But when I wrote the story I had to imagine most of it based on the few words I could understand. When the interview was over, Maurício took pictures of Bob with everyone. My favourite one is a picture of Jacira surrounded by Bob and Jocb holding their locks (that picture decorates a wall in Jacir’s house, in Corcundinha, a ghetto in Campo Grande, Mato Grosso do Sul).
When I wrote the story, Renato Machado, who was the Revista de Domingo editor at the time didn’t want me to tell the weed episode. “But that’s part of the story”, I said. Renato replied firmly: “That’s not part of a story, that’s a police ocurrency. If a reporter sees that, he must find the nearest telephone and call the police.”
At the time I didn’t realize but today I’m sure that he wasn’t serious…” José Emílio Rondeau (Journalist)
“I was with Zé Emílio (Rondeau) at the Copacabana Palace Interview – the one which didn’t happen because everyone arrived late. But Chris Blackwell was there and we talked to him for a long while. He told us Island’s story and reggae’s consequently. I really nice guy.
After that, when we heard that Bob would play football at Chico’s field and we went there to try to make a story. We got really early that time, before everyone else. Marley arrived surrounded by a lot of people. I talked a lot to Junior Marvin. He even gave me his address in Jamaica so I could send him the pictures I took of them. I never sent it… Marley, as soon as he got rid of the crowd went to the dressing room to change his clothes. No one went with him. For a few seconds, I thought about going in there to take some pictures, it would be surely nice. I didn’t. Today I regret that. Before the game began, we talked to him a bit. He was really nice and humble, didn’t look like an internationally recognized artist. He accepted conceiving us an interview at the Copacabana.
The game was actually short. Everything was quick. Thanks God, cause the game was horrible. Bob was really bad. We could see that he loved that but simply couldn’t play, unfortunately. From 1 to 10 I would give him 1.5. The conversation at the hotel was more relaxed. I was amazed how hard it was to understand what he said. Even though, we had a nice conversation.
Later, there was an Ariola party at the Morro da Urca in which Bob’s presence was the main attraction. But a that time I couldn’t even get close to him, because he was isolated at a special place, surrouded by a huge crowd.
One of my favourite pictures from all I ever took was a picture of Bob at Chico’s field. Few minutes before the game started, someone gave Bob a Santos shirt and Bob dressed it on top of the one he was wearing. The dreadlocks got stuck and Bob started shaking his head to release them. The locks looked like living serpents attached to his head. I took that picture. That was surely a magic moment.” Maurício Valladares (photographer)
Além desses, os depoimentos de Moraes Moreira e Paulo César Caju você pode ler aqui.
Finalmente, algumas fotos do nosso mestre Maurício Valladares na famosa pelada no campo do Chico Buarque podem ser vistas no site do Ronca Ronca, se liga no link: