That spirit of mockery characteristic of the guaracha was part of the mambo from the beginning.

The basic success of the conga came from ...that basic principle of African music and dance: everybody participates. The conga eradicated the distinction between performer and audience, broke down the wall of the proscenium.

One often reads that the 1950s was the golden age of Cuban music, but it was really one long phase, from 1937 to 1958, each year with its own splendour.

A laborer might last ten years or so before expiring. But individual workers in the death camp of sugar were survived by their culture, which was constantly re-Africanized by fresh arrivals. To that plantation culture, the music of our hemisphere owes no small debt.

Every farm with slaves was a slave-breeding farm. Raising slaves was mostly a cottage industry.

Miguelito, liberated from having to sing with Cugat, sounds like he just got out of jail and is letting it rip.

A second line is in effect a civil rights demonstration. Literally, demonstrating the civil right of the community to assemble in the street for peaceful purposes. Or, more simply, demonstrating the civil right of the community to exist.

Music is so essential to the Cuban character that you can't disentangle it from the history of the nation. the history of Cuban music is one of cultural collisions, of voluntary and forced migrations, of religions and revolutions.

Black musicians rhythmicized the contredanse, creating musical styles which evolved into the habanera (also known as the tango) and, later, ragtime, as well as the danza, danzón, and ultimately the danzón mambo and its offspring the cha-cha-chá.

The general disinclination of Spain to accept slaves from Islamicized regions of Africa during the formative years of Hispano-American society had enormous consequences for the development of music in the New World.