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.

Chano Pozo created the role of the conga soloist in the modern band, somewhat th way Coleman Hawkins created the solo tenor sax.

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

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

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.

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 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.