413 results where found for «Go Tell It to the Rain»


Go Tell It to the Rain (Ve y díselo a la lluvia)

Song by:
Clan 91
Testimony by:
Eduardo Ojeda
« We had a comrade who sang beautifully. He was called Peye and was a student at the State Technical University. »
[...]
« Go Tell It to the Rain (Ve y díselo a la lluvia) »
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Saint Gregory’s Tonada (Tonada San Gregorio)

Song by:
Pedro Humire Loredo
Testimony by:
Pedro Humire Loredo
« This tonada(1) recalls the horrible situation I was subjected to in the cells of the police station in the San Gregorio district in southern Santiago. »
[...]
« After dark, they brought more detainees and then proceeded to brutally beat them up. I heard the police tell these prisoners that they had to take them into the neighbourhood and show them where the other upelientos(2) or leaders were. »
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Three White Lilies (Tres blancos lirios)

Song by:
Unknown composer. This song probably relates to European early-years pedagogy.
Testimony by:
Domingo Lizama
Experience in:
« They arrested me at my workplace in October 1973 . I was 31 years old and worked as a porter at a logging business in Chumpullo, near Valdivia. »
[...]
« The days were very hard. We would chat, tell jokes and sing to entertain ourselves and shorten the wait for the trips to the SIM(1). »
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Priests and Soldiers (Curas y milicos)

Song by:
Sergio Vesely
Testimony by:
Sergio Vesely
« I don’t want to exaggerate but Camp Melinka became not only a factory that produced handicrafts and a performance hall but also a university. »
[...]
« a priest goes up to the altar. »
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A Cocky Fellow (El puntúo)

Song by:
Víctor Canto and Luis Cifuentes (lyrics), Roberto Parra (music)
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros, Estadio Nacional, November 1973 - February 1974
« This cueca(1) was composed in Chacabuco between November 1973 and February 1974, and was sung by the band Los de Chacabuco, to which Víctor Canto and I belonged. »
[...]
« (6) Legal-military teams that would go to the camp to take statements from some prisoners as part of the trials brought by the dictatorship. In some cases, prisoners were removed from the camp and interrogated in other centres. »
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For the Guy Who's Leaving

Song by:
Alfredo Zitarrosa
Testimony by:
Luis Cifuentes Seves
Experience in:
« Marcelo Concha Bascuñán, a member of the Los de Chacabuco band, was a young man of great charisma and personal skills. He had been a swimming champion and was an outstanding guitarist and singer. »
[...]
« if you go up to the city »
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The Man Who Transformed into an Animal (El hombre que se convirtió en animal)

Song by:
Sergio Vesely
Testimony by:
Sergio Vesely
« I wrote this song shortly after reading Franz Kafka’s The Metamorphosis, one of the books that circulated in Camp Melinka from hand to hand and cabin to cabin. »
[...]
« from going down into the animal’s den »
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With the Sprouts I Sowed (Y con brotes de mi siembra)

Song by:
Andrés Rivanera (lyrics) and Eugenio Moglia (music). Popularized by Los Moros and Jorge Yáñez.
Testimony by:
Guillermo Orrego Valdebenito
« In Chacabuco there were two theatres: one that was very beautiful and was linked to the old saltpetre works, where it is claimed (wrongly as it happens) that Caruso once performed, and another theatre that was inside the concentration camp. »
[...]
« I go from the party to the wake »
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Run Run Went up North (Run Run se fue pa'l norte)

Song by:
Violeta Parra
Testimony by:
Ernesto Parra Navarrete
Experience in:
« Run Run... On the big pitch, mild summer weather was in the air. »
[...]
« Many of our fellow prisoners had already been transferred to the Santiago Public Prison, others to their towns and villages to be tried locally, while a few were released and the women, who were held in the same conditions in the pool area, were transferred to a section of the Stadium stands. They waited, like the rest of us, for the loudspeakers to inform us about our future situation. »
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Captive Quena (Quena cautiva)

Song by:
Claudio Enrique Durán Pardo (aka Quique Cruz)
Testimony by:
Claudio Enrique Durán Pardo
Experience in:
Campamento de Prisioneros, Tres Álamos, September - December 1975
« I first laid my hands on a quena(1) when I was nine years old. It was resplendently fragile and lyrical. My passion for this instrument was immediate, or rather, the quena chose me. »
[...]
« Panpipes(2), charangos(3) and quenas went from being from the 'sonorous trinity' into the void of oblivion, prohibited for being subversive. »
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