El violador eres tú lyrics
Recently, Urquijo himself told the whole story to Jaime Monsalve, director of programming at Radio Nacional de Colombia (listen to the song here) and stressed: “The song is by Joe Arroyo, but he gave it to me because I wasn’t going to do anything with it, at that time. So, I recorded it”.
Such is the legacy of Rebelión in ethnic, social and cultural terms that the song has been reviewed by top academia. Mark Q. Sawyer, professor of political science at the University of California (Ucla), wrote an essay entitled Dubois, double consciousness ‘versus’ Latin American exceptionalism: Joe Arroyo, salsa and negritude (2004).
That, as far as the academy is concerned. Regarding the narrative, it is clear that Rebelión is an impeccable chronicle: a journalistic story, if you will, perfectly narrated (sung). However, the great legacy of the song, and what it is famous for worldwide, is the musical imprint.
Without further ado, Rebelión is a stupendously structured and best resolved song: Joe’s spoken introduction that says: “Quiero contarle, mi hermano/ Un pedacito de la historia negra/ De la historia nuestra, caballero/ Y dice así…”, a second piano and harpsichord introduction, followed by a salsa descarga that mixes the main melody with the chorus and two solos -trumpet and piano-, turned it into a universal theme. A round, definitive, unforgettable song.
Afro-descendant music
There have been several of these. Some have been arrested for driving stolen cars or for carrying weapons and drugs, others were caught in clandestine events in full quarantine and violating curfews. But behind those one-offs, there was more, much more.
“I had a discussion once with Soledad Onetto when Pablo Chill-E was arrested. I told her that they only called me for that, but nobody called me when Pablo won the Copihue de Oro or when he was trending in the rankings. In general, the media were only concerned about these guys when there was something police or drug-related and not about their art, but now they are starting to value it”, he adds.
From this rise, Molina is optimistic about the treatment by the media: “There is a greater knowledge of the media, now they do interviews in more formal media, such as La Tercera and others, besides there are some who already have contracts with multinational labels (such as Polimá Westcoast and Young Cister, which are part of Sony Music since 2019) and have international collaborations”.
The rapist is your movement
The song is performed by Spinetta (guitar, vocals and programming), Carlos Alberto “Machi” Rufino (bass), Juan Carlos “Mono” Fontana (keyboards), Guillermo Arrom (lead guitar), Jota Morelli (drums).
Spinetta had just released his double album with Fito Páez La, la, la, la and suffered the assassination of Fito Páez’s “mothers” during the album’s presentation concerts. Such a situation had an impact on the work of both: while Fito Páez composed and edited the album Ciudad de pobres corazones (1987), Spinetta expressed his pain in Téster de violencia.
The theme of the body, the central axis of Téster de violencia, is new for someone like Spinetta, who for a long time sang to the soul, and even baptized one of his best albums as Alma de diamante. This change was symmetrical, moreover, to the fact that El Flaco went from reading with devotion the works of Antonin Artaud (for whom the body is the prison of the soul) to the texts of Foucault (for whom the soul is the prison of the body).
Songs that talk about women in Spanish
And I have already said that the times that I have made records like this, they have taken me on tour working with them. Otherwise, no, because I have never been a lover of doing this. It can be bad for you. I tell you something. You make the record and then all the others learn from what you… you have some inspirations and then the others learn from them.
I have never liked to play, just to (????). But of course, I say: to play bulerías for that guy, I have to do something for him every time. Anyway, I made some falsetas and then when I went to (????) what formed the falsetas. So I improvised them, I improvised them there.
-Siguiriyero has been the one who has transmitted the most of all. The one who has touched the soul the most of all those who have sung siguiriyas has been Manuel Torre. Manuel Torre sang the cantes de Jerez. Not the cantes de Triana, cantes de Jerez. But, my friend, he sang them in a way… that transmitted more… so much voice he had and expressed and the soul he put into them. But he wasn’t long, he wasn’t long singing. Tomás was long.