Ned Sublette Quotes

• 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.

  Ned Sublette

  Character, Essentials, Migration

  Ned Sublette (2007). “Cuba and Its Music: From the First Drums to the Mambo”, p.8, Chicago Review Press

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• 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.

  Ned Sublette

  Wall, Principles, African Music

  Ned Sublette (2007). “Cuba and Its Music: From the First Drums to the Mambo”, p.409, Chicago Review Press

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• 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.

  Ned Sublette

  Años, Largo, Edad

  Ned Sublette (2007). “Cuba and Its Music: From the First Drums to the Mambo”, p.433, Chicago Review Press

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• 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.

  Ned Sublette

  Rights, Community, Peaceful

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

  Ned Sublette

  Rip, Jail, Sound

  Ned Sublette (2007). “Cuba and Its Music: From the First Drums to the Mambo”, p.472, Chicago Review Press

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• 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.

  Ned Sublette

  Song, Sex, Thinking

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• En 1942, Cachao compuso una melodía para Arcao, 'Rareza de Melitn', con un tumbao pegadizo memorable. En 1957, Arcao grabó una versión con el nombre de "Chanchullo", y en 1962 Tito Puente la transformó en "Oye como va", siempre con el mismo ritmo. En esta forma, audiblemente la misma, impulsó la versión multiplatino de Carlos Santana en 1970, casi tres décadas después de que Cachao la interpretara por primera vez.

  Ned Sublette

  Memorable, Names, Firsts

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• La reticencia general de España a aceptar esclavos procedentes de las regiones islamizadas de África durante los años de formación de la sociedad hispanoamericana tuvo enormes consecuencias para el desarrollo de la música en el Nuevo Mundo.

  Ned Sublette

  Years, Spain, Development

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

  Ned Sublette

  Cottages, Slave, Breeding

  Ned Sublette (2008). “The World That Made New Orleans: From Spanish Silver to Congo Square”, p.229, Chicago Review Press

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• 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.

  Ned Sublette

  Practice, Keys, New Orleans

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

  Ned Sublette

  Roles, Band, Way

  Ned Sublette (2004). “Cuba and Its Music: From the First Drums to the Mambo”, p.537, Chicago Review Press

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

  Ned Sublette

  Long, Southern, Negative

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• Up through and including Lincoln, American politicians nursed a fantasy of repatriating blacks to Africa.

  Ned Sublette

  Fantasy, Politician, Including

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• 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.

  Ned Sublette

  New Orleans, Slave, Ownership

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

  Ned Sublette

  Spirit, Characteristics, Mockery

  Ned Sublette (2007). “Cuba and Its Music: From the First Drums to the Mambo”, p.509, Chicago Review Press

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• Un obrero podía durar unos diez años antes de expirar. Pero los trabajadores del campo de exterminio del azúcar sobrevivían gracias a su cultura, que era constantemente reafricanizada por los recién llegados. Con esa cultura de plantación, la música de nuestro hemisferio tiene una deuda no pequeña.

  Ned Sublette

  Years, Lasts, Culture

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• 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.

  Ned Sublette

  Creating, Style, Black

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