On occassion, slaves in Spanish New Orleans owned slaves, whose labor they could appropriate toward purchasing their own freedom, or whose ownership they could trade as a partial payment on their own freedom.

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.

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.

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

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.

Like slaves on the sugar plantations of the Antilles, ...the sugar slaves of southern Louisiana had negative birthrates for as long as slavery lasted.

The two biggest hits (by Machito)... were about that enduring Cuban song topic-food: 'Sopa de pichn' [pigeon soup] and 'Paella'. If you think that all songs about food are double entendres for sex... Well, maybe all songs about food can be double entendres, but in many periods of Cuban history, for many people, food has been harder to get, and the subject of more fantasies, than sex.