In 1942 Cachao wrote a tune for Arcao, 'Rareza de Melitn,' with a memorable catchy tumbao. In 1957 Arcao recorded a reworking of it under the name 'Chanchullo'; and in 1962 Tito Puente reworked that into 'Oye como va,' still with that same groove. In this form, audibly the same, it powered Carlos Santana's multiplatinum 1970 cover version, close to three decades after Cachao first played it.

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.

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.

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 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.

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.