room for the truce of dialogue and tolerance requested by the authorities . The talks began for reconciling the artistic program . We gave in and , of course , we reasoned with the most vulnerable artists , the dangerous ones , who had no other place than Rotilla to let themselves be seen . First was OMNI Zona Franca : " Friends , this happens to us . We do not want to lose the event . They tell us that you won ’ t be included . We do not want you to leave , but you will not be able to perform . Be part of the film crew , at least this time . What do you think ? " They weren ’ t taken by surprise , since they were accustomed to such troubles . We remained a team , I think , despite the circumstances . Then it was the turn of Los Aldeanos , super stars , a symbolic group , impossible to be censored . We wanted to attend a concert by La Aldea , to listen to them , to shout their choruses . Maybe Aldo don ’ t remember it , hopefully not : " Aldo , sing until you get hoarse , all the time is yours . What we would like to suggest is to avoid speeches between the songs . That ' s what bothers them the most and we ' re trying to gain a space . What do you think ?". A discontent Aldo sympathetically and quietly accepted . It was not enough to act as censors . We had to camouflage them : " You will not appear on the concert ’ s schedule ; your concert will be started by Silvito el Libre , who will present you as his guest . It ' s the only thing we can do to achieve our goal . Let ' s do it so or we ' ll be knocked down ." And that was so for three years . La Aldea was rapping before the greatest public that they have had in Cuba . I hope the good memories will prevail . When we were gaining more experience as organizers and our commitment surpassed the obligation to conform an excellent artistic proposal . When we trusted that the officially proclaimed changes would be put into practice and that we were managing everything in a disciplined fashion , they treacherously killed us .
The festival planning improved and renewed the social and public good ’ s campaigns that we had been executing until then , namely " Because I love Cuba ", " Be Here ", " Eco-Rotilla ". We wanted to develop them with the artists to turn them into spokespersons with positive messages : preventing the harassment against women and the abuse of toxic beverages and substances , which could harm the harmony within the party and the health
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