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

New Orleans is of such key importance to American music because historical factors combined to make it the strongest center of African musical practice in the United States, and, cliches aside, that practice really did travel up the Mississippi and did spread overland.

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.

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.

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.

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.