The Bob Marley story is a historic human phenomenon of the last century, and considering its ever increasing power and resonance, makes a story of worthwhile human interest. Marley, lyrics poet of rebellion, who gave the poor and the oppressed a voice in the international arena of ideas, whose celebrity reached mythological levels akin to Che Guevara, or Jesus Christ, is one of the most significant musical and spiritual inspiration of the last century. His music and its message of redemption and moral rearmament through Rastafarian placed Jamaica on the world’s cultural map.

This message of apocalyptic truth has impacted every strata of society, from the rich and powerful to the poor and downtrodden. The rich and powerful were forced to respect the power and integrity of his ideas and message, while the poor and downtrodden found it inspirational and life changing. Judy Mowatt, a member of the Wailer’s I-Threes, notes: "The reservoir of music…when you need to refer to a certain situation or crisis, there will always be a Bob Marley song that will relate to it." Every aspect of his extraordinary rise, from his humble origins to international fame, political importance, cultural significance, moral and revolutionary impact and influence, has been critiqued. Though celebrated for his pioneering accomplishments in reggae music, his revolutionary ideals (Rastafarian/Pan Africanism), the more human aspect of Bob’s life has not been written about extensively. In examining the relationships he developed throughout his brief but eventful lifetime, one finds a treasure trove of humanly, enriching images. Marley, who had an astute and keen awareness of the world he inhabited and whose incisive mind and provocative inquiries informed and shaped his unique vision of mankind’s destiny, also possessed great warmth and sensitivity, an immeasurable boyish charm and a notorious sense of humor and wit. Despite Marley’s very popular appeal, he was a very private and shy man who allowed only a select few to penetrate the inner sanctuary of his private thoughts.

Marley loved and trusted children unconditionally because he appreciated their purity and innocence. As musicologist Dermott Hussey notes, "Marley was at his most vulnerable best and relaxed in the presence of children…he could be himself." Hussey recounts an illustrative but poignant event. He had invited Marley to dinner at his home in the suburbs of Kingston. Dermott’s youngest daughter had a crush on Marley and refused to come into the room where he was. Sensing her apprehension and nervousness, Marley sent her a ginger log (a candy), then persuaded her to come by using his charm, considerable warmth and sensitivity, Hussey recalls how amazed he was at the sight of this revolutionary exhibiting such reassuring calm in the presence of his child.

Neville Garrick, Bob’s artistic director, confidant remembers with great fondness the occasion when Bob met crown Prince Wassen, the son of Haile Selassie, in London. The Prince gave Marley a ring from the house of Judah and this sentimental moment brought a smile of joy to Marley’s face as it was a moment of honor. According to Garrick "there was a tranquil feeling of happiness as a graceful smile emanated from his face." Bob was never known for public displays of emotion; although he laughed a lot in public, he rarely smiled.

In 1979, Marley was the special guest of Prime Minister Robert Mugabe at Zimbabwe independence inauguration ceremony. Garrick recalls attending a soccer match at Zimbabwe’s national stadium and being surprised to see Bob, a fierce soccer player and avid fan, jumping up and down with his hands in the air, gleefully cheering on the winning team. He remembers his surprise at the youthful enthusiasm and exuberance Marley was displaying in public. Marley felt a special sense of joy, mixed with pride as he witnessed Zimbabwe’s independence because he was seeing his dream of African liberation unfold before his eyes.

Like most people, Bob had his insecurities, which manifested in different ways. According to Garrick who is over six feet tall and much taller than Marley, when both men sparred, the issue of height was an underlying theme. He recalls several friendly discussions or "brotherly disagreements," where this was a factor. Often, when things got a little loud, Marley would remark, "Yu ah look pon de skip like yu waan fight," to which Garrick replied, "If I wanted to fight you, I wouldn’t be here." At this, both men would just break out in laughter.

Hussey once walked into Marley’s house at 56 Hope Road and greeted him with a slap on his back in front of his entourage. Bob reacted sharply to his perceived insult; however, sensing that a scene would have been inappropriate and given his respect for their friendship, he deflected the appropriate response to the brethren around him. Marley said, "Mek we beat up this brother," to which everyone laughed. Marley knew no one would carry out this rhetorical threat. With this diplomatic gesture, he was able to turn a perceived threat to this authority into a diplomatic victory, thereby establishing his control of the situation without embarrassing Hussey.

Bob’s relationship with his band, The Wailers, was more than that of bandleader to hired musicians. They were like family. Aston Barrett, who brought experience and credibility to The Wailers, enjoyed a symbolic relationship with Bob based on mutual respect for each other’s talents and professionalism. The friendship grew into mutual admiration. While on tour, they usually shared a suite and would stay up late composing, writing and exchanging ideas on Rastafarian music, religion and philosophy. " We often talked about the intrusion and influence of foreigners into reggae music," Barrett said. And both agreed to continue the commercial trend the music was taking (much to the chagrin of some critics) until it had received sufficient international recognition, at which point they planned to return it to the Nyabingi form. The return of the music to this form would, they reasoned, retain and maintain its cultural and spiritual integrity.