Chords for Bob Marley: LEGACY "Fashion Icon"

_ _ _ Style.
Style.
I love the style, you know.
_ _ _ _ [D]
And the [G] soul of the [E] 60s [G] is something that Bob Marley [D] picked up on [G] and loved it as [F#m] much as we all did.
But when you look at the evolution of [G] Jamaican's fashion, I think that it would be right at [Em] the top of it.
And I think [G] that ultimately when we [A] talk about fashion [G] icons, did this person look [A] and feel [G] like they were totally in their own [F#m] skin [G] every day?
And Bob Marley really exemplifies that.
You know, [A] because he really made us [Bm] pay attention to fashion. _ _
_ _ _ _ _ _ _ _
_ _ _ [F#m] [Bm] He broke all the rules, by the way.
When you see him in a jacket, sweatpants, and slippers.
The way he just like bounces on stage.
You know, the fabrics [E] just drape [G] on him.
He be up there with no shoes, just barefoot.
I mean, like, [F#] who does that?
[G] Original gang, you know, [A] original tough gang [C] style. _
Denim, you know, show [G] the edge, show the [E] roughness. _
[C] _ _ _ _ _ _ [F#] All [G] over Jamaica, young men can be seen with uncut hair combed up into dreadlocks, [A] the sign of a true [Bm] Rastaman.
_ [Em] Well, locks really comes from [Bm] _
the [F#m] Nazarene vow, [Bm] not to cut your hair.
So, [Em] you know, it's ancient.
_ [Bm] _ _
When the [C] Rastafarians picked it up, it was really from [Em] the Battaway in [Bm] Ethiopia.
It came [F#m] from that ancient tradition.
But we [F#] used to be [Em] chastised in the past before [B] Bob Marley made it [F#m] popular.
Where it's giving us [F#] an identity.
So it's [Bm] part of [B] our belief [G] system.
_ _ _ _ [A] _
_ _ _ [F] _ _ _ Can't create jungle, [G#] revolutionary look.
I think the evolution of [G] Jamaican style is what's so [Am] crazy.
Nobody can really [F#m] pull stuff together like Jamaican, you know? _ _ _
[Bm] _ _ _ _ [C#] _ _ _
What was so unique [F#m] about Jamaica was how they [B] approached it.
And they put it [C#] together in unexpected ways that, you know, just created something new.
So in [F#] the 1950s, you had a lot of Jamaicans going [C#] to the US trying to find rhythm and blues records
to bring back and play at [F#] the sound system parties that were echoing around Kingston at the [C#] time.
And the same thing happened with [F#m] clothing.
When I was on research in Kingston, I spoke to [B] many people telling [F#] me about
barrels full of [G#] clothes being [C#] shipped back from New York to Kingston.
[F#] And people waiting to rip the [C#] barrels open and everyone would grab stuff
and they'd be all dressed going to [F#m] the dance halls that night.
But then as it moves on into the rocksteady and then [C#] finally the reggae stuff,
you do see [F#m] a lot of denim creeping in.
And especially Bob [Bm] was classically wearing [C#] denim on denim with a denim shirt [D] with denim jeans.
[C#] Bob was [D#] always somebody who loved [F#] jeans.
You [C#] know, denim was really what I think he liked the most.
It really became an iconic [F#] look for him.
That's the right word.
Bob [C#] dressed for comfort.
_ [F#m] I love the man.
He's my brother.
Spiritually, [G] all the good souls [F#m] live, you know.
We carry [G#] on unconsciously.
[F#] His message [C#] is [F#] still so relevant [F#m] to the people. _ _ _
_ [G#] _ _ [Bm] _ _ _ _ [E] _
_ _ _ [G] _ _ _ _ [F#m]
My [B] name is Arora James.
I'm the creative director and founder of the accessories [E] brand Brother Valleys.
My name is Edvin Thompson, designer of [F#] Theophilio,
a [G] contemporary clothing brand here in [C] Brooklyn, New York.
[Bm] So I created [E] Brother Valleys specifically [G] with the goal of empowering artisans [F#] across Africa.
I really wanted [G] to just, you know, amplify and champion the stories [G#] of Black and brown people,
people that look like myself.
For me and my brand, Foreign [Bm] Affair, the inspiration for the Foreign [E] Affair came from TSA.
[G] It was just a big fear that I [F#m] had.
Airports, brown men in [Bm] airports.
I took that as inspiration [E] of flipping it to [G] something that I want to take power over.
And [F#m] the Foreign Affair is about that [Bm] collective togetherness of Black and brown people.
To say [E] that, yeah, we were made by [G] foreigners.
Whether you want to [C#] hear it or not, whether you like it or not, we all [Bm] come from somewhere else.
Immediately in the 60s, everybody wasn't [G] open to say that they were from [F#m] different places,
especially from the Caribbean.
[Bm] By the late 70s and [E]
80s, it was a prideful thing [G] where people would [F#] actually brag a little bit [G#m] more
about being from the [Bm] islands as opposed to 10 [D#] years [G] earlier where it was like,
I'm not going to say anything.
The music [F#m] of Bob Marley was very [Bm] instrumental on breaking that ice.
[G] I saw it right in front of my eyes.
Can it be [C#m] copied quite successfully [F#m] outside of Jamaica?
It can be copied, you know, but [N] it's _ not copied, _ it's the feel.
I don't want to wait [G#] any day for your love.
You know, ultimately, when I think about cultural icons, I think [C] about Bob Marley
and what impact he's had on my design [D] process [G#] and the fashion industry at large.
[C] You know, I've definitely tried to replicate his [G] style, his personal style.
In terms of Bob's style, the [F] tracksuits was amazing.
We [A#] love the [F] matching top and bottom fit, you know.
He [F#] was a big [C] originator of that.
He's like instilled in my identity as a [G#] designer, and like when I do like champion my cultural [C] heritage
back in Jamaica, I [F#] do champion him [C] as well because he has [G] laid out that foundation
for [G#] many artists like myself.
[C] And I think when you're that kind [G] of person, you have the [G#] means and the resources
to be able to be in that space, then all you have is abundance of people
because you see in how people are receiving what you're [C#m] giving.
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