{"id":9579,"date":"2026-09-19T17:03:00","date_gmt":"2026-09-19T15:03:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/one-love-peace-concert-1978-bob-marley-2\/"},"modified":"2026-09-19T17:03:00","modified_gmt":"2026-09-19T15:03:00","slug":"one-love-peace-concert-1978-bob-marley","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/one-love-peace-concert-1978-bob-marley\/","title":{"rendered":"One Love Peace Concert 1978 – Bob Marley"},"content":{"rendered":"

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Deux mains, une chanson, une lune pleine<\/h3>\n

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National Stadium, Kingston, 22 avril 1978. La Jama\u00efque est au milieu d’une guerre politique qui ne prend pas la peine de se nommer. Le People’s National Party et le Jamaica Labour Party ont des hommes arm\u00e9s, des quartiers, et un compte de corps. Une tr\u00eave, pouss\u00e9e par les rivaux Claudie Massop et Bucky Marshall, a besoin d’un visage que l’\u00eele croira. Le visage est en exil. Le 3 d\u00e9cembre 1976 des hommes arm\u00e9s sont entr\u00e9s au 56 Hope Road et ont tir\u00e9 sur Bob Marley, sa femme Rita, et son manager. Il est parti. Il revient pour cette nuit, cal\u00e9e sur l’anniversaire de la visite d’Ha\u00efl\u00e9 S\u00e9lassi\u00e9, et qui court de la fin d’apr\u00e8s-midi jusqu’\u00e0 ce que la lune soit haute.<\/p>\n

Peter Tosh joue avant lui et utilise le temps mal, c’est-\u00e0-dire honn\u00eatement. Il tance les deux leaders assis devant lui, fume sur sc\u00e8ne, et passe pr\u00e8s de la moiti\u00e9 d’un long set \u00e0 parler de police et d’herbe. Puis, vers minuit et demi, Marley et les Wailers. Trench Town Rock<\/em>, War<\/em>, Natty Dread<\/em>, Natural Mystic<\/em>, et Jamming<\/em>. Pendant Jamming<\/em> il cesse d’\u00eatre seulement un chanteur. Il demande Michael Manley et Edward Seaga. Il dit qu’il n’est pas tr\u00e8s bon pour parler. Il dit qu’il veut qu’ils se serrent la main et montrent aux gens qu’ils vont s’unir. Ils viennent. Il l\u00e8ve leurs mains jointes. La photographie est celle que le reggae utilise encore quand il veut prouver qu’il s’est tenu, une fois, dans l’histoire plut\u00f4t qu’\u00e0 c\u00f4t\u00e9.<\/p>\n

Le geste n’a pas arr\u00eat\u00e9 les morts. C’est la phrase adulte, et elle a sa place ici. Un concert n’est pas un trait\u00e9. Ce qu’il peut \u00eatre, c’est une salle o\u00f9 les hommes qui profitent d’une guerre doivent se tenir, une minute, dans la m\u00eame lumi\u00e8re que les gens qui la paient. Marley leur donne cette minute et ne pr\u00e9tend pas qu’elle est plus. La ligne sur la lune, dans l’improvisation, est presque timide. La lune est juste au-dessus de ma t\u00eate, et je donne mon amour \u00e0 la place. La politique a la poign\u00e9e de main. La chanson garde l’amour, parce qu’il ne fait pas confiance \u00e0 la poign\u00e9e pour tenir.<\/p>\n

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\n

Je veux juste qu’on se serre la main et montrer aux gens qu’on va arranger \u00e7a, qu’on va s’unir.<\/p>\n<\/blockquote>\n

(Bob Marley, One Love Peace Concert, 1978)<\/em><\/p>\n

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Il a d\u00e9j\u00e0 ouvert son corps \u00e0 cette \u00eele, et on lui a tir\u00e9 dessus pour \u00e7a. Revenir n’est pas un exercice de marque. Les Wailers derri\u00e8re lui, le stade ouvert sur la nuit, Rita ayant chant\u00e9 plus t\u00f4t, Tosh ayant refus\u00e9 d’\u00eatre poli : l’affiche est un pays qui se dispute en public, avec une section rythmique qui emp\u00eache la dispute de n’\u00eatre que des cris. La gloire internationale du reggae est d\u00e9j\u00e0 r\u00e9elle. Cette nuit est pour les gens qui devront vivre avec le lendemain matin.<\/p>\n

Regardez les mains, puis \u00e9coutez ce que les mains n’ont pas pu faire. Le concert est fameux parce que la photo est nette. La musique est fameuse parce qu’elle ne l’est pas. Jamming<\/em> continue de rouler sous le discours, un one-drop qui ne s’arr\u00eate pas pour le premier ministre. C’est la morale de la nuit, s’il en faut une. La chanson survit \u00e0 l’\u00e9treinte. L’\u00e9treinte valait quand m\u00eame d’\u00eatre faite, sous cette lune, dans ce stade, par un homme qui avait une cicatrice \u00e0 montrer pour la derni\u00e8re fois qu’il avait essay\u00e9.<\/p>\n

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Le 22 avril 1978, au National Stadium de Kingston, Bob Marley appelle Michael Manley et Edward Seaga sur sc\u00e8ne pendant Jamming et joint leurs mains sous une lune pleine.<\/p>\n","protected":false},"author":1,"featured_media":9530,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[273,281],"tags":[356,260],"class_list":["post-9579","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chronicles","category-concerts","tag-bob-marley","tag-reggae-ska","post_format-post-format-video"],"yoast_head":"\nOne Love Peace Concert 1978 - Bob Marley - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chronicles\/one-love-peace-concert-1978-bob-marley\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"One Love Peace Concert 1978 - 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