Podcasts about afro cuban

Welcome to AIPT Comics Podcast Episode 382! This week, we're joined by Absolute Catwoman writer Che Grayson to dive deep into one of DC's most exciting new series. We discuss reimagining Selina Kyle for the Absolute Universe, blending espionage and cyberpunk influences, exploring Catwoman's Afro-Cuban heritage, and what makes this version of Gotham's greatest thief unlike any that came before. Visit our Patreon page to see the various tiers you can sign up for today to get in on the ground floor of AIPT Patreon. We hope to see you chatting with us on our Discord soon! NEWS Dark Horse Comics agrees to voluntarily recognize Dark Horse Workers United Oni Press unveils first look at new Archie era, announces 'Sabrina the Teenage Witch' and 'Archie in Hell' DC GO! expands in 2026 with new originals, returning favorites, and the first crossover event Marvel reveals final chapters of 'Queen in Black' event as Venomworld emerges Marvel reveals post-'Avengers: Armageddon' era with mysterious 'Earth's Mightiest Survivors' teaser Marvel bri1ngs its second-ever True Believers Display Box to 'DNX' #1 Chip Zdarsky and Marco Checchetto launch new 'Avengers' #1 this November NiFe WARS launches NFC-authenticated collectibles platform with blind bags 'TMNT' #300 tops 200,000 orders as IDW prepares biggest Turtle story in years Our Top Books of the Week: Dave: Billy Bat (Naoki Urasawa, Takashi Nagasaki) Spawn #376 (Matthew Rosenberg, Stephen Segovia) Alex:​​ IM CHEATING: The End Times #7 (Benjamin Percy, Stephen King) Only The Savage Are Left #1 (Zach Kaplan, Stefano Rafaelle) Standout KAPOW moment of the week: Alex: What If Uncanny X-Men (Gerry Duggan, Jan Bazaldua) Dave: Uncanny X-Men #29 (Gail Simone, Luciano Vecchio) TOP BOOKS FOR NEXT WEEK Alex: The Nice House by the Sea #10 (Tynion, Álvaro Martínez Bueno) Dave: Tarzan Beyond #1 (Steve Orlando, Renato Guedes) JUDGING BY THE COVER JR. Dave: Daredevil #3 (Alexander Lozano Cover) Alex: X-Men #31 Alex Ross Marvel Dimensions variant Interview: Che Grayson - Absolute Catwoman - Out June 10th Absolute Catwoman hits the ground running with a fast pace and a globe-trotting setup. What was your approach to making this version of Selina feel immediately distinct from page one? This Selina feels very self-made, with high-tech gear and a life she's built outside Gotham. What interested you about exploring her at that stage in her life? The Absolute Universe already introduced Selina in Absolute Batman. How did you approach taking an established version of the character and expanding her into her own series? Speaking of collaboration, how do you and Scott split the writing duties? Are you breaking story together, or does one of you take the lead in certain areas? Bengal's art really sells the motion and the tech, especially in action scenes. How closely are you working with him in terms of visual storytelling, and were there any sequences you were especially excited to see him bring to life? The Calicos are a really intriguing addition, with that more classic Catwoman-inspired look. What can you tease about their role in Selina's past and how they shape who she is now? This version of Selina has some bold new elements, including her enhanced gear and abilities. Without spoiling too much, how far are you planning to push what Catwoman can be in the Absolute Universe?

You can experience Caribbean culture in the Bay Area though delicious food. And also through rhythm and dance. Next a dance form that's deeply connected to the history and faith systems of one Caribbean culture - Afro-Cuban folkloric dance. Reporter Leila Day experienced this dance form on a visit to the Dance Mission Theater in San Francisco. And brings us this story

Today, we take dancing to a deeper level with Afro-Cuban folklore. Experiencing dance as spiritual practice. And, we head over to Oakland's first Haitian restaurant for some hearty, braised goodness.

Welcome along our tracklist this week leans heavily into contemporary jazz, neo-soul, Afro-Cuban rhythms, acid jazz, and broken beat. Alongside a heavy nod to modern UK and global underground jazz networks.Aja & Claire Roy Hargrove- Poetry [feat. Q-Tip & Erykah Badu]Kyoto Jazz Massive - Black Renaissance (Live at NOON)Eskaubei & Tomel Nowak Quartet - 4 the Ladies ft. A.Tocka.IZCO - Komodo [Brownswood Recordings]Nicola Conte - Terra em Transe.Sonzeira - No╠üs Precisamos de Voce╠é feat. Moses Boyd [Brownswood Recordings)Gabriele Posó - Contigo Mi Vida [AG Records]Gilles Peterson's Havana Cultura Band, Dreiser, Sexto Sentido - Orisa [Brownswood Recordings]The Milky Way - Surfin' Summer 'La Costa'.Muva Of Earth - No One Else Has Your Magik! [Brownswood Recordings]Steve Williamson Ft Abbey Lincoln - A Waltz for Grace Mincka - NeverwhereIZCO - Japan Greatly (feat. Reek0 and S.I) [Brownswood Recordings]Mark Murphy-Empty Faces Jazz Room Records - Blue Mode Feat- Chip Wickham- JungleStrut Jazz Room Records - Betty Roche - Take The A Train Marshall Allen - The Heliocentrics & Knoel Scott - Where Pathways Meet art test - across the oil fieldsJasmine Myra - Likeness and Shadow.Streeton feat. Lucy Sparks & MIFE - The Waters [Sonar Kollektiv]Robert Burbidge Ft Winter - AmirilloCorto Alto -ThiefJoe Armon-Jones - Mollison Dub [Brownswood Recordings]Pan Amsterdam - Vanilla IceMiho Hazama - Rodo

Harvie S is a renowned jazz bassist with a distinctive style and virtuosic technique. Throughout his illustrious career, Harvie has recorded with a plethora of jazz luminaries including Michael Brecker, Paquito D'Rivera, Chick Corea, Kenny Barron, John Scofield, Sheila Jordan, James Moody, Yusef Lateef, and the Manhattan Transfer, just to name a few, leaving an indelible mark on the global jazz scene. His dynamic bass lines and innovative approach to rhythm have earned him widespread acclaim among critics and audiences alike. He has released 21 recordings as a leader on major labels, 20 as a co-leader and over 400 as a sideman. His most recent album is Bright Dawn. During our podcast, we feature a song from that recording, Voice in the Sky. Harvie's musical versatility knows no bounds, as he effortlessly traverses various jazz sub genres, from traditional, Afro-Cuban, Brazilian to avant-garde, infusing each performance with his unique musical perspective. In addition to his prowess as a performer, Harvie is also a dedicated educator, sharing his wealth of knowledge and experience with aspiring musicians. Harvie also has a podcast, Harvie S On Tap. Click here to listen.

"The biggest thing I experienced in hell, more than the fire, more than the pain, more than the sights that I saw, was the pain of regret." Pastor Dominic MorrowWhat happens when the person you built yourself to be is the exact person standing between you and eternity?Pastor Dominic Morrow grew up in Chicago between two worlds. Half African-American and half Afro-Cuban, raised between Christianity and Santeria. By his teens he was deep in gang life, selling drugs, and surrounded by people who feared him. He thought religion was for the weak.Then in June 2009, he was shot twice in the stomach. Clinically dead for 3 minutes and 47 seconds. In that time, he went somewhere.In this episode of the Earth Xperience Podcast, Pastor Dani sits with Dominic for a conversation that does not stay on the surface. He walks through leaving his body, falling faster than the speed of thought into a living darkness, arriving at the gates of hell, and what the Lord showed him before sending him back. He breaks down what demons actually are, how Santeria disguises darkness as light, and why regret is the greatest pain a soul can carry.This is also a story of rebuilding. After coming back, Dominic moved through Islam and Hebrew Israelite teachings before fully anchoring his faith in Yeshua. He founded the Narrow Path Society and Blessed to Be Chosen ministry and authored three books including 3 Minutes and 47 Seconds in Hell.Topics: near death experience, NDE, hell testimony, afterlife, spiritual warfare, gang life, Chicago, Santeria, Yeshua, Jesus Christ, redemption, regret, eternity, second chances, life after death, deliverance, out of body experience, faith.Questions to sit with:What will you regret most at the end of your life, and what are you doing about it now?What beliefs did you inherit from your family or culture that you have never fully examined?What would it feel like to see your entire life with total clarity in one instant?Where in your relationships do you see fear holding people together instead of love?Find Dominic Morrow:youtube.com/@DominicMorrowIncblessedtobechosen.comBooks on Amazon: The Toughest Enemy in Life is You, Passport to Eternity, 3 Minutes and 47 Seconds in HellSupport the nonprofit: Cash App at NarrowPathSociety

This week's new music show spans the breadth of Latin America. Argentine indie artist Paula Prieto goes experimental. Venezuelan reggaeton pioneers Chino y Nacho return to the limelight. Brazilian singer Marina B reminds Felix of The Beatles. Guatemala's Doctor Nativo pays homage to the "caminantes" heading north to find a better life. Plus, Latin punk from San Antonio, and a celebration of Afro-Cuban legend Arsenio Rodriguez.Artists and albums featured in this episode:(00:46) Chino y Nacho, 'Radio Venezuela'(05:30) FEA, 'Careful'(10:11) Paula Prieto, 'TEMPORAL, LP.'(16:27) Bobby Sanabria Multiverse Big Band, 'Arsenio And Beyond'(22:30) Midnight Cafe & Marina B, 'À Flor da Pele (Lonely Man)'(25:34) Doctor Nativo & Roco Pachukote, 'Caminantes'This podcast episode was produced by Noah Caldwell. Suraya Mohamed is the executive producer of NPR Music.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

This week's new music show spans the breadth of Latin America. Argentine indie artist Paula Prieto goes experimental. Venezuelan reggaeton pioneers Chino y Nacho return to the limelight. Brazilian singer Marina B reminds Felix of The Beatles. Guatemala's Doctor Nativo pays homage to the "caminantes" heading north to find a better life. Plus, Latin punk from San Antonio, and a celebration of Afro-Cuban legend Arsenio Rodriguez.Artists and albums featured in this episode:(00:46) Chino y Nacho, 'Radio Venezuela'(05:30) FEA, 'Careful'(10:11) Paula Prieto, 'TEMPORAL, LP.'(16:27) Bobby Sanabria Multiverse Big Band, 'Arsenio And Beyond'(22:30) Midnight Cafe & Marina B, 'À Flor da Pele (Lonely Man)'(25:34) Doctor Nativo & Roco Pachukote, 'Caminantes'This podcast episode was produced by Noah Caldwell. Suraya Mohamed is the executive producer of NPR Music.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

SOBERBIUS #182 Electronic Podcast Music ★ GUEST MIX MIGUEL SANDOVAL ★ ⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶⎶ ✧ CHOOSE YOUR FAVORITE PLATFORM: https://linktr.ee/soberbius ✧ SOUNDCLOUD: https://soundcloud.com/mariomendozamusic/sets/soberbius Biografía Concebido en el Mar Caspio y nacido en Madrid, este artista multidisciplinar y polifacético ha desarrollado sus raíces musicales nutriéndose desde el flamenco, árabe, africano, afrocubano y toda la música de las mejores salas de fiestas y teatros por América, Europa, Africa y Asia. A principios de los 90 inicia una nueva trayectoria centrándose en la fusión de música electrónica que da comienzo en salas de Madrid y Palma de Mallorca como “Clamores”, “BCM”, “Changó”, ”Ritmo y Compás”, “Pacha Mallorca”, “Es Fogueró”, “Menta”, “Budha Madrid”, “New Garamond” iniciando así a liderar el grupo Acción Percusión e iniciar una gira Mediterranea por Valencia, Barcelona y Menorca. Tras la gira decide continuar en solitario culminando con la residencia habitual en la isla de Ibiza donde ha transmitido sus ritmos en salas como Pachá, Privilege, Space, Eden, Km5, Sunset Ashram y Bora Bora entre muchas otras improvisando su música con artistas de la talla de Bebo Valdés, Erick Morillo, Cesar del Rio, Carl Cox, Cesar de Melero y muchos otros Dj,s de la escena internacional. En 2017 comienza a emitir desde Pure Ibiza Radio el programa “Instru Mental”, el cual se caracteriza por improvisar varios instrumentos de viento y percusión sobre las mezclas. Dicho programa se extendería hasta 2020 alcanzando en varias ocasiones el primer puesto en las listas de Mixcloud para terminar tocando en “Earth Festival” de Australia con Amelia Mae. Actuálmente dirige en la misma emisora el programa “Wake Up Ibiza” cada mañana de Lunes a Viernes siendo éste un referente del sonido matutino balear. Siempre atraído e involucrado en las habituales “Jam Sessions”, Miguel trata de fusionar sus estilos tribales con toda la música de baile proporcionando a las fiestas una atmósfera única y llena de buenas energías. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Biography Born in Madrid in a family of artists, this multidisciplinary and versatile artist has built his musical roots drawing on flamenco, Arabian, African, Afrocuban and the music of the best clubs and theaters in America, Europe, Africa and Asia. In the early 90s he undertook a new path focusing on the electronic music fusion that was beginning in clubs of Madrid and Palma de Mallorca such as “Clamores”, “BCM”, “Changó”, “Ritmo y Compás”, “Pachá Mallorca”, “Es Fogueró”, “Menta”, “Budha Madrid” or “New Garamond”, among others. He then led the group “Acción Percusión” and toured the Spanish Mediterranean coast. After the tour he decided to continue as a solo artist and ended by establishing his residence in Ibiza, where he has played his rhythms in “Pachá”, “Privilege”, “Space”, “Eden”, “Km5”, “Sunset Ashram” and “Bora Bora”, among many other clubs improvising his music with well-known artists such as Bebo Valdés, Erik Morillo, César del Río, Carl Cox,César de Melero and many other international DJ's. In 2017 he began broadcasting the show “Instru Mental” on “Pure Ibiza Radio”, a programme characterized by improvising wind and percussion instruments on top of the musical mixes. The show was aired live until 2020 reaching on several occasions the top one on Mixcloud and this has taken him to play in the Australian “Earth Festival” with Amelia Mae. At present, he directs the show “Wake Up Ibiza” on this same station, broadcasting every morning from Monday to Friday. The program has becomea benchmark in the Ibiza morning sound. Always part of the usual jam sessions, Miguel tries to fusion his tribal styles with dance music, providing a unique atmosphere and fills all parties with good energy. -_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_ #soberbius #itunes #soundcloud #ivoox #tunein #podcast #electronicmusic #progressivehouse #melodictechno #indiedance #techno #dj #producer #cultureclub #music #artist #djset #djlife #love #instagood #photooftheday #fashion #art #follow #repost #style #mariomendoza

LUCAS SANTTANA, ANDREA MOTIS, AFRO-CUBAN COMBO SEDAJAZZ, MICHAEL PETRUCCIANI Más información en: https://www.lossonidosdelplanetaazul.com/

Estrella Acosta en haar band Esquina 25 vieren de release van hun nieuwe album ‘Caminos' in het voorjaar van 2026 met een concerttournee, waarmee ze op vrijdag 3 april De Tor in Enschede aandoen. Ze hebben hun horizon verbreed en een breed scala aan Latijns-Amerikaanse muziek laten horen, niet alleen uit Cuba, maar uit heel Zuid-Amerika en het Caribisch gebied. Aanleiding voor TORcast-host Willem Habers om eens in de wereld van Latijns Amerikaanse muziek te duiken. Playlist: Buena Vista Social Club: Chan Chan; Estrela Acosta & Esquina 25: Baila e Son Con Mi Mulata; Estrella Acosta: Mi Tierra Es Asi; Dizzy Gillespie: Manteeca; Tito Puente: Oye Como Va; Dubbelaar: Mongo Santamaria: Afro Blue; John Coltrane quartet: Afro Blue; Antonio Carlos Jobim: Wave; Elis Regina, Antonio Carlos Jobim: Aguas de Março; Josee Koning, Has Vromans, Nelson Maria, Daniel Pezzotti: Desafinado; Izaline Calister: Mi Pais; Estrella Acosta: Que Viva Chango; Astor Piazzolla: Libertango. Beluister deze TORcast Latijns‑Amerikaanse muziek heeft een enorme invloed gehad op de ontwikkeling van de jazz, vooral via ritmes, percussie‑technieken, dansvormen en nieuwe harmonieën. Hieronder vind je een chronologisch en thematisch overzicht. Cuba: de bakermat van Afro‑Cubaanse ritmes Afro‑Cubaanse basis (19e–20e eeuw) Ontstaan uit de mix van Afrikaanse ritmiek (Yoruba, Congo, Arará) en Spaanse melodie/harmonie. Belangrijke vormen: Rumba, Son, Danzón, Mambo, Cha‑cha‑chá. Cruciaal instrument: clave (2–3 / 3–2 patroon), hét ritmische fundament. Cuban Jazz & Latin Jazz (jaren 40–50) Jongeren in Havana en New York vermengen Son, Mambo en jazzharmonie. Sleutelpersonen: Mario Bauzá, Machito, Dizzy Gillespie, Chano Pozo (o.a. Manteca). Ontstaan van Afro‑Cuban Jazz: krachtige blazers, complexe polyrhythms, montuno‑piano. Later (jaren 70–heden) Salsa ontwikkelt zich (Fania All‑Stars, Willie Colón, Celia Cruz). Moderne Cubaanse jazz: Chucho Valdés, Irakere, Gonzalo Rubalcaba, Roberto Fonseca. Brazilië: ritmische rijkdom & zwoele harmonieën Samba (begin 20e eeuw) Afro‑Braziliaanse wortels, ontwikkeld in Rio. Ritmische kenmerken: 2/4 feel, syncopen, grote percussiegroepen. Bossa Nova (jaren 50–60) Intiemere, harmonisch verfijnde stijl (invloed van jazz). Pioniers: João Gilberto, Tom Jobim, Vinicius de Moraes. Wereldwijde doorbraak met The Girl from Ipanema (Getz/Gilberto). Harmonieën beïnvloeden jazzpianisten & componisten wereldwijd. MPB en beyond MPB (Música Popular Brasileira): Caetano Veloso, Gilberto Gil, Elis Regina. Moderne Brazilian Jazz: Hermeto Pascoal, Egberto Gismonti, Hamilton de Holanda. Argentinië: Tango & Nieuw‑Tango Traditionele Tango (eind 19e–20e eeuw) Ontstaan in Buenos Aires en Montevideo. Melancholisch, dramatisch, bandoneón‑gedreven. Iconische figuur: Carlos Gardel. Nuevo Tango (jaren 50–90) Astor Piazzolla mengt tango met jazz en klassieke muziek. Complexe harmonie en ritmische vrijheid. Invloedrijk in de moderne jazzwereld; talloze jazzarrangementen van Piazzolla's werk. Andere regio's & stijlen Mexicaanse invloeden Bolero, Ranchera, Son Jarocho (bv. La Bamba). Minder directe jazzkruising, maar bolero's worden vaak in jazzsetting gespeeld. Caribisch gebied (Puerto Rico, Dominicaanse Republiek) Plena, Bomba, Merengue, Bachata. Sterk aanwezig in moderne salsa en Latin jazz (bijv. Tito Puente, Eddie Palmieri). De invloed op jazz: een korte lijn door de tijd Jaren 30–40 – Eerste invloeden Duke Ellington en Jelly Roll Morton integreren Latijnse ritmes. Jaren 40–50 – Afro‑Cuban Jazz boom Gillespie & Pozo fuseerden bebop met Cubaanse percussie. Jaren 60 – Bossa Nova in de jazz Stan Getz populariseert Bossa Nova. Pianisten als Bill Evans en Herbie Hancock nemen Braziliaanse harmonieën over. Jaren 70–90 – Salsa & Latin Fusion Latin jazz‑orchestra's (Puente, Palmieri). Jazz musicians integreren samba, baião, MPB en folkloristische ritmes. 2000–heden – Cross‑genre & global jazz Mix van Afro‑Cuban, Brazilian, elektronische muziek, hiphop en jazz. Voorbeelden: Arturo O’Farrill, Miguel Zenón, Hiromi met Latin‑influences, Snarky Puppy (sterke Braziliaanse invloed). Samenvatting in één oogopslag Stijl Land Kernkenmerken Jazzinvloed Son / Rumba / Mambo Cuba Clave ritme, percussie, montuno Basis Afro‑Cuban jazz Samba Brazilië Energieke percussie, 2/4 feel Jazzdrums & ritmiek Bossa Nova Brazilië Zachte groove, rijke harmonie Grote invloed op jazzstandards Tango Argentinië Dramatische melodieën Avant‑garde/fusion via Piazzolla Salsa Cariben Mambo + son + jazz Big band Latin jazz

In 1881, African American educator and political leader Booker T. Washington founded Tuskegee Institute in Tuskegee, Alabama. The school's mission was to provide practical education and vocational training in fields such as agriculture and mechanics to African Americans in the post-Reconstruction South. Tuskegee ultimately became a world-renowned agricultural and industrial school for African Americans – and actually for all people. Today, we're speaking with Duke University's Jarvis McInnis about his award-winning book Afterlives of the Plantation: Plotting Agrarian Futures in the Global Black South. Interview Transcript Jarvis, I cannot tell you how much I appreciate this book. And hopefully we'll make a link to the Franklin Humanities gathering (https://youtu.be/rfSy1lWWOwA?si=dVcWH3xDBuBStEEc) that we had for your book launch. As I said at that time, and I'll say it right now, this book resonated with me so deeply because of my rural upbringing. My experience as a son, a grandson of farmers and agricultural workers. And someone who grew up in the 4-H Club down South. Hopefully we will get to some of those topics as we go through. So, let's start off with a real basic idea. Could you give our readers an overview of what the book is? And also, about what you mean by the Afterlives of the Plantation. Yes, absolutely. Thank you so much for that question, Norbert. The book is an effort to think about the cultural and intellectual and political ties between Southern African Americans and Afro-Caribbean people in the late 19th to early 20th Century as they were responding to the legacies of slavery, right? This is the period after emancipation, and across the hemisphere. And so, I'm really interested in the way that they are sharing ideas as they are confronting the new modes of racial oppression that emerged in slavery's aftermath. In the United States, you have Jim Crow, right? Segregation, and other forms of violence and dispossession like lynching and land dispossession and so forth and so on. And then in the Caribbean, in Latin America, you have institutions like the European colonialism, and US imperialism, right? And so that is the afterlife of slavery. They're emancipated, but it's not a period of full citizenship, right? Of full access to the rights and privileges of citizenship. And so in telling that story, I center Booker T. Washington's school, the Tuskegee Institute, which was founded on the site of an abandoned and burned cotton plantation in Alabama in 1881. And this is getting at the second part of your question. I became really fascinated by what it meant to establish a school, to establish a future-oriented institution, that's committed to uplifting Black people. To establish that on the site, on the ruins of a burned plantation. And, in some ways, I became curious about that as an undergraduate student because I'm a graduate of Tougaloo College, in Tougaloo, Mississippi, which is a historically black college much like Tuskegee. And much like Tuskegee, Tougaloo was also founded on the site of a former cotton plantation. And I saw that this idea, or this practice, this logic of transforming these sites of violence into something that is more liberatory and more emancipatory was really a strategy that Black people used throughout the US South and throughout the Caribbean. Throughout much of the Americas where slavery and the plantation had existed. I placed Tuskegee, and particularly its approach to agriculture, at the center of that story to demonstrate how an institution rooted in the US South is not backward. It's not pre-modern. That's firmly rural, but that rurality... they're taking the knowledge that's cultivated there and disseminating it to other Black people in other parts of the world to aid in their struggles toward freedom and citizenship. I think this is an important point to make. And I know we've had conversations about this as you were developing the book. And I'll just say again, out of my rural Southern agricultural background, I often found a sense that people thought, oh, well you must be backward. Oh, you must come from this... and that's not a good thing. I can only imagine that people of this time must have thought, well, shouldn't people want to move away from agriculture? Why would you want to be invested in this thing that was a part of former enslavement? How do you think about this in light of this notion of agrarian futures? You would think people would want to move away from that. What is your understanding of sort of this move towards agriculture and seeing this as something for the future and even modern. That's such a great question. And I, you know, I have to say that I came to agriculture relatively late in the project. I was initially most interested in what Tuskegee was doing with Black aesthetics: with photography and with music and with literature. I'm a literary scholar after all. But as I sat with Tuskegee's aesthetic output, I realized the significance of agriculture within that. And as I began to explore the ways that Tuskegee was being disseminated to other parts of the Black world, to places like Haiti, to places like Puerto Rico. And as they were admitting students from those particular colonies at that time. Now some of them are countries; Puerto Rico is still a territory. But I realized that what other Black people, both in the US South and abroad, were interested in was its agrarian vision. Was the work, the research that someone like George Washington Carver was doing at Tuskegee and as a mode of self-help. And so I really had to wrestle with that because it was outside of how I had conceived of agriculture. And in many ways, writing this book transformed my own understanding of what the modern was. And, you know, forced me to, or perhaps invited me, to think about agriculture to understand it as intellectual. To understand it certainly as a skill, in all of these ways that I had not really given much thought to it previously. But as I sat with George Washington Carver's bulletins. As I sat with Tuskegee's extension initiatives. As I sat with the knowledge that they were producing, the various print cultural artifacts, the newspapers. And again, the agricultural bulletins and so forth and so on. I realized, wait a minute. This is a site of knowledge production, and its modern up-to-date knowledge production that actually still has a lot of sound basis that can be used in contemporary agriculture to this very day. And so, it radically transformed my understanding of Tuskegee, of a figure like Booker T. Washington. who as we know, is a much-maligned figure in Black studies and American studies because of his conservative politics. But agriculture gave me another way into that institution and to think about, again, the significance of the cultural and intellectual contributions of the US South at this particular period. Thank you for that. I want to talk about a particular section of the text that has to do with both the agricultural philosophy, but also this idea of sharing information, and you've made some reference to it. So, I grew up, as I mentioned, going and being a part of the 4-H program, which was a part of the Cooperative Extension System. And Tuskegee, in many ways, helped form and helped inform what extension would look like. Which ultimately became a thing, federally, in 1914. But I want to read this one passage from your text, and you say: "In 1897, the state of Alabama passed legislation allocating $1,500 to establish an agricultural experiment station on campus. The station also known as the Experiment Plot." And plot is something you come back to. And I would love to hear your thoughts about this garden plot and the Experiment Plot and just the metaphor of plot throughout your text. "But the station also known as the Experiment Plot, was managed by George Washington Carver. Washington insisted that the experiment station ' should not be used for scientific experiments of interest only to experts. Should deal with the fundamental problems with which the Negro Farmers of Alabama were daily confronted.' The results of Carver's experiments were thus published in bulletins that were then distributed among farmers throughout Alabama and the broader US South." And then you go on and talking about the different courses that were made available. But I wanna get this one quote from the Tuskegee student. And you said the Tuskegee student observed: 'Tuskegee Institute is primarily a school for the masses of our people. Both old and young and in all degrees of development.' I mean, Tuskegee was doing something that other land grant institutions would eventually take on, is this idea of sharing knowledge and using this. As a means of uplift and I would say even citizen building. What are your thoughts about that sort of perspective? Yeah. Yeah. I'm going to try to wrap all of those questions up into one response. We'll see how successful I am. I know I gave you a lot. Well, one of the things that I wanted to say, that I did not get a chance to say in my response to your previous question is that, you know, the majority of African Americans lived in the South in this particular period. And many of them viewed agriculture as a viable future. And that was one of the aspects of, you know, doing research on this book that was transformative for me. Was understanding that they did not hold this same necessarily, sort of, denigrating attitudes toward agriculture. In part because the United States was largely agricultural writ large, right? [00:11:00] And so it was across the country, across the color line, was regarded as a viable pathway. But it is the case that Booker T. Washington was attempting to rebrand agriculture, to re-signify it. Because there were a number of African Americans who did not want to have anything to do with it because it reminded them of the degradation of slavery. And so, what Washington said was he said, hey, you know, that there's a distinction between working and being worked, right? Being worked means degradation. Working for oneself, right? Being independent is a mode of civilization, is what he argued. And so what I argue in the book is that Washington is attempting to resignify labor, to make it something that is regarded as self-proprietorial, right? And that is a necessary tool in not just labor but agricultural labor in particular. But we can add, I would say, industrial labor also as something that is self-proprietorial and that is a part of that citizenship making project. So, I wanted to be sure to home in on that aspect of your previous question. And then I think the way into this next question is to talk a little bit about the plot. The slave garden plot. So, this idea in the book, right? The subtitle is Plotting Agrarian Futures. And there are multiple residences of the plot throughout the book. But the easiest way to, sort of, describe it is that it is an elaboration on the slave garden plot. The patches of land that enslaved people could cultivate throughout the Americas to grow foods to nourish themselves, because the rations that were provided from the plantation owners, those rations were too meager, right? A number of scholars and theorists across disciplines have theorized that the slave garden plot was a site of resistance to the plantation system. In part because it is enabling them to survive, to live, to nourish their bodies, right? But also because of what they did on the plot, right? Not only growing food, but also perhaps growing flowers. There's one scholar who regards it as the botanical gardens of the dispossessed, right? And so this idea that on these garden plots where they could cultivate food for themselves, their time was their own. They weren't growing food for sale on the global market, necessarily, or other cash crops for sale in the global market. They were growing foods that perhaps have been a part of their diets in Africa. And in addition to that, they were engaging in communal practices, singing, dancing, and sometimes perhaps even plotting revolutions, right? Another valence of the plot. And so, a scholar like Sylvia Winter establishes a kind of dichotomy between the plot and the plantation under enslavement. And when I realized that Tuskegeeans were also trying to encourage Black folks to grow food, and in doing so helping them to circumvent the predatory practices of sharecropping, of tenant farming, that would have those sharecroppers and tenant farmers to buy their foods from the local commissary and to remain in cycles of debt. And that of course, that they had an experiment station that they called an Experiment Plot. I thought, okay, this is the post emancipation iteration of the slave garden plot. It stands as a counterpoint to the plantation system, and it is imbued with these logics and ethics of care. And one of those logics and ethics of care is the dissemination of knowledge, right? Ensuring that rural Black farmers who were perhaps too old to attend Tuskegee, or could not afford to do so, that they could come to campus and learn the most up-to-date agricultural knowledge, right? And for those who couldn't come to campus, to attend the Tuskegee Farmers Conference, they would take the Jessup Agricultural Wagon into the countryside and teach them about crop rotation. Teach them about how to grow certain food crops, right? Teach them about how to grow certain plants to beautify their homes and so forth and so on. And so I think about that dissemination of knowledge, right? Whether it's those farmers coming to campus or Tuskegee taking those ideas into the countryside, as an ethic of care that is connected to the way that the plot exists as a counter to the plantation. Yeah. Wow, this is really wonderful. I love how you're able to weave in this agricultural philosophy that had deep resonance with people of the rural American South. But you also saw this as something that moved beyond the borders of the American South, and thus in your subtitle, the Global Black South. How did Tuskegee get involved in this transnational sharing of knowledge, and working in the Caribbean, and particularly, Puerto Rico, Haiti? Tell us a little bit more about that experience. Absolutely. Absolutely. Tuskegee really began to recruit students from the broader diaspora in the latter part of the 19th Century. So, around 1897. Certainly, the Caribbean, certainly Cuba and Puerto Rico, following the Spanish American War. And Booker T. Washington sent a Tuskegee student who was actually fluent in Spanish into Florida, and then later on to Havana, to recruit students to Tuskegee. He understood, he believed, that because they were experiencing conditions that were very similar to African Americans, they too were responding to the afterlife of slavery in the plantation. Given that emancipation in Cuba and Puerto Rico, in particular had just occurred in the late 1880s, he believed that their conditions were very similar to those of African Americans and that they could benefit from agricultural and industrial education as well. And there was a reformer by the name of Grace Mins. She was based in Boston. And she ensured that Booker T. Washington's autobiography, Up From Slavery, was translated into Cuban Spanish. And then that autobiography was then disseminated. A thousand copies were disseminated throughout the island of Cuba. And so as a result of that, he inspired, or the model of self-help that Washington depicted in Up From Slavery, inspired a host of Afro-Cuban readers. Students and parents and government officials and educational officials then begin to write to Tuskegee, write to Washington, wanting entry into the school. It's also translated into French, right? And so, you have French readers, particularly in a place like Haiti coming to Tuskegee. Someone by the name of the Jean Price Mars, who was the foremost Haitian intellectual of the 20th Century, actually met Washington in France when Washington was traveling there on vacation and became inspired by that model. A year later, he comes to the United States to attend the 1904 World's Fair and then spends two weeks at Tuskegee, learning those ideas and wanting to take them back to Haiti. So, through translation, right? Into different languages, those ideas then circulate throughout the Black world, but also through efforts to actively recruit students from those other places that Washington understood as experiencing a similar condition as African Americans. People whom he understood could benefit, he believed, could benefit from agricultural and industrial education. Great. And one of the things I loved in the way you talked about this in the text is you talked about not only translation but transplantation. And I thought that was an interesting turn of phrase because of what you were trying to communicate through that term. I want to, sort of, bring us up to some things that are currently happening. We just had a conference and you were a participant on a panel on humanistic issues around addressing food waste. And I've got to say, this was one of the panels that people really leaned into, that were really caught up by it. And you made some really insightful interventions based on some of the work that you've done in your book. So, you spoke about the anti-waste ethos at Tuskegee and I really found that interesting. Could you speak to that for a moment? Absolutely. Well, first I want to say thank you again for the opportunity to participate in that symposium. I really enjoyed it, and it really gave me an opportunity to think about various dimensions of a kind of anti-waste ethos at Tuskegee. And I think that there are a couple of different ways in which it manifested at the institution. So first there's a kind of metaphorical dimension to waste at Tuskegee. When Booker T. Washington writes to George Washington Carver to hire him, to recruit him to the institution. He said, I can't pay you a lot of money, but we have been tasked with helping to transform formerly enslaved people from conditions of waste to full manhood. Right? And so there is that sort of metaphorical, or what I would argue in the book is a kind of ontological understanding of waste, given the degraded status of the enslaved. And then there's a kind of philosophical dimension to waste as well. One, so Washington, Tuskegee, they are informed by the progressive era, right? It's a progressive era institution that's guided by a commitment to thrift and economy. And so, they're very much interested in a kind of practical attitude toward not being wasteful, right? To being thrifty with money, but also with resources. And what we see is, you know, complaints about food waste in the dining hall at Tuskegee, right? A very practical issue for a poor rural institution wherein the students are growing the food, right? Wherein the students are making the bricks, right? Are helping to transform this plantation into a school. We can't afford to waste food, right? But they're also teaching students and Black folks in the countryside how to preserve fruits and vegetables. There are these photographs of them teaching folks how to can and preserve fruits and veggies, right? To ensure that they have food throughout the winter months, so that they are not stricken by hunger and poverty and starvation. So that they aren't forced to borrow additional money from the plantation owners if they are indeed in sharecropping and tenant farming arrangements. And so, the last aspect I suppose of waste at Tuskegee that I want to highlight here is a kind of ecological one. Where in George Washington Carver is calling on farmers to take advantage of the quote unquote waste that is on their farms, right? The cow manure, right? To regenerate the soil. The swamp muck, right? The dead leaves, the night soil; to use that waste to regenerate the soil, to replenish it, right? In addition to practices of crop rotation and so forth and so on. And so that ecological dimension of waste is really important for understanding Tuskegee's ecological vision. I think this is so important because conversations around regenerative agriculture, and going back to, sort of, broader notions of traditional farming practices, minimizing the use of chemicals, people were talking about this. Folks like Carver were trying to find ways of using very little resources to help support the growers that he worked with. And we're hearing these echoes again and again. I'm so grateful that you illuminated that throughout your text. Thank you. I am not the only one who seems to have appreciated that because you won the 2026 Association for the study of African American Life and History Book Prize and the 2025 On the Brink book Award from the University of New Mexico School of Architecture and Planning. Why do you think this narrative of agricultural liberation is resonating with people so strongly? You know, first of all, Norbert, I just have to say how honored I am that the book has received these recognitions. And that it's finding its audiences. Audiences that I couldn't have imagined. Imagine my seeing my face when I opened the email to see that it had been acknowledged by both of these institutions. But especially the architecture and planning. I thought, oh my goodness. I, could not have, I could not have imagined this. So, I just want to say that I'm grateful first and foremost. You know, as I've been talking to people, you know, and as I've been moving around and talking to readers at my book tour, or people have been writing to me via email, what I've found is that the historians really appreciate the archival richness, and robustness of the text, right? So, the historians, the literary scholars, they really appreciate that aspect of the book. Many people, I think, also really appreciate the fact that it is giving us a new way to think about Tuskegee and Booker T. Washington. A place and a person who we thought we knew, right? And not in a flat way; a way that holds the complexity of that institution in place. And throughout the text, I really try to wrestle with the critiques, the valid and legitimate critiques that are coming from people like Ida B. Wells Barnett, and WEB Du Bois, about the limits of Booker T. Washington's political philosophy. But at the same time, I say, but if we don't acknowledge what they were doing through agriculture and by extension through aesthetics, then we're missing a really important part of this story, right? And I think that the book is giving us a model for thinking about how to engage in criticism that is both generative and productive, I suppose, right? Like how do we hold them to a particular standard where we say, you know, here are the limits of your political vision, but at the same time, this is what you enabled, right? And that's what the text is trying to do. And I think, you know, others have shared that they appreciate that it honors the intelligence and sophistication and dignity of Black rural people, of Black Southerners, who in my opinion, are often written out of Black studies in a way that is substantive. In a way that honors their contributions, especially in this period. The South is a space that people are simply fleeing from because of Jim Crow. And I'm saying, wait, what about the people who remain rooted in the land, on the land, either in the US South or in other sort of rural places throughout the diaspora. And then finally, I think that the book seems to be connecting to people who really care about our world. Who really care about the state of environmental degradation that we have found ourselves in as a result of institutions like the plantation, of monocrop agriculture, of industrialization in the way that it abuses, and misuses the earth. And so, because the book is invested in thinking about regeneration and repair, and about more sustainable methods from the past that can be useful for our present. I think that it seems to be connecting with readers who are interested in issues like climate change and environmental catastrophe. So that's what I suspect, based on some of the feedback that I have received. But I just want to reiterate just how grateful I am that it is finding its audience. BIO Jarvis C. McInnis holds a BA in English from Tougaloo College in Jackson, Mississippi, and a Ph.D. in English & Comparative Literature from Columbia University in the City of New York.  Jarvis is an interdisciplinary scholar of African American & African Diaspora literature and culture, with teaching and research interests in the global south (primarily the US South and the Caribbean), sound studies, performance studies, and visual culture. Jarvis's research has been supported by numerous grants and fellowships, including the Mellon Mays Undergraduate Fellowship, the Ford Foundation Pre-doctoral and Dissertation Fellowships, and Princeton University's Department of African American Studies postdoctoral fellowship. His work appears or is forthcoming in journals and venues such as Callaloo, MELUS, Mississippi Quarterly, Public Books, and The Global South.

Hear travel stories from Equatorial Guinea to Brazil & how Dash works to dismantle anti-Blackness in Latinx communities. ============================ Get the Monday Minute my weekly email with 3 personal recs for travel, culture, and living beyond borders you can read in 60 seconds. ============================ ON THIS EPISODE In Part 2 of this conversation, Peabody Award–winning producer and historian Dash Harris unpacks the ideology of mestizaje and explains how narratives of racial mixing have obscured anti-Blackness across Latin America and its diaspora. She discusses why she rejects the umbrella identity of “Latina,” drawing on Black feminist scholarship, her workshops on dismantling anti-Blackness in Latinx communities, and her own experiences traveling and researching Afro-descendant cultures around the world. Dash tells stories from visiting Equatorial Guinea—the only Spanish-speaking country in Africa—and compares Afro-diasporic histories across continents. She also shares observations from Salvador, Brazil about tourism, memory, and the politics of Black cultural spaces. Finally, she recommends some of her favorite music—from Afro-Cuban traditions to Afro-Colombian and Brazilian sounds. → Full show notes with direct links to everything discussed are available here. ============================ FREE RESOURCES FOR YOU: See my Top 10 Apps For Digital Nomads See my Top 10 Books For Digital Nomads See my 7 Keys For Building A Remote Business (Even in a space that's not traditionally virtual) Watch my Video Training on Stylish Minimalist Packing so you can join #TeamCarryOn See the Travel Gear I Use and Recommend See How I Produce The Maverick Show Podcast (The equipment, services & vendors I use) ============================ ENJOYING THE SHOW? Follow The Maverick Show on Instagram and DM Matt to continue the conversation Please leave a rating and review — it really helps the show and I read each one personally You can buy me a coffee — espressos help me produce significantly better podcast episodes! :)

Zahili Gonzalez Zamora is a Cuban pianist, composer and bandleader. She graduated from Cuba's National School of Music and then moved to Canada. She spent 6 years in Asia playing in Macau. She's also a graduate of Berklee Music School. She and her Afro-Cuban trio, MIXCLA, have performed at the Monterey and Montreal Jazz Festivals and other venues. She is a winner of the Duke Ellington Award and the Wayne Shorter Award. My featured song is “Take Me”, from the album PGS 7 by my band Project Grand Slam. Spotify link. —----------------------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for All Episodes  Click here for Guest List  Click here for Guest Groupings  Click here for Guest Testimonials Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH ZAHILI:www.zahilizamora.com —--------------------------------------- ROBERT'S NEWEST RELEASE:“MI CACHIMBER ALL STARS” is the new, expanded version of Robert's single, “Mi Cachimber”, which he wrote for his father. Featuring Camila Cortina on Rhodes and Xito Lovell on trombone in addition to Benny Benack III and Dave Smith on flugelhorn, and Project Grand Slam's rhythm section. CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- ROBERT'S RECENT RELEASE: “MA PETITE FLEUR STRING QUARTET” is Robert's recent release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars. CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —--------------------------------------- Audio production: Jimmy RavenscroftKymera Films   Connect with the Follow Your Dream Podcast: Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com   Follow Robert's band, Project Grand Slam, and his music: Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com    

OKAN consists of Cuban-Canadian musicians Elizabeth Rodriguez and Magdelys Savigne. They are a 2x Juno Award winning Afro-Cuban group. They fuse Afro-Cuban and other global rhythms with jazz, folk and classical. They bring a fresh perspective to Latin and world jazz fusion. Twice they've won Juno's World Album of the Year award. My featured song is “The Queens Carnival” from the album of the same name by my band Project Grand Slam. Spotify link. —----------------------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for All Episodes  Click here for Guest List  Click here for Guest Groupings  Click here for Guest Testimonials Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH OKAN:www.okanmusica.com —---------------------------------------- ROBERT'S LATEST RELEASE: “MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars. CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —--------------------------------------- ROBERT'S RECENT SINGLE “MI CACHIMBER” is Robert's recent single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhorn CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —-------------------------------------- ROBERT'S LATEST ALBUM: “WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)” CLICK HERE FOR THE OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —---------------------------------------- Audio production: Jimmy RavenscroftKymera Films   Connect with the Follow Your Dream Podcast: Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com   Follow Robert's band, Project Grand Slam, and his music: Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com    

Funk Foundations Presents Latin Jazz Foundations with DJ Poquito Loco. From the streets of Havana to the clubs of Harlem, musicians brought the afro-latin rhythms and started intertwining them with jazz, to create one the first fusion styles. From his private vinyl collection, DJ Poquito Loco (Harlem, USA) will bring us back in time…from its inception in the 40's to becoming a global phenomenon in the 50's, 60's and on... Enjoy the trip… Play list: 1.    Tito Puente - Witch doctor's nightmare '60 2.    Perez Prado - Tito Puente chang '5? 3.    Cal Tjader Modern Mambo Quintet - Mueve la cintura '54 4.    Machito Puente Loco - Tee pee mambo '56 5.    Cal Tjader and His Sextet - Pauneto's point '61 6.    Noro Morales - St. Louis blues mambo '57 7.    Perez Prado - Lucky mambo '58 8.    Charlie Mariano - Manteca '55 9.    Joe Loco Band - La bomba '57 10.   Cal Tjeder and His Sextet - Davito '61 11.   George Shearing Quintet - Cali mambo '58 12.   Shorty Rogers Big Band - Un poco loco '58 13.   Zoot Sims and his orch. - Samba instantanca '62 14.   Geri Gallian and His Caribbean Rhythm Boys - C'est si bon '55 15.   Les Baxter - Rain '59 16.   Oscar Pettiford feat. Donald Byrd - Oscalypso '55 17.   Tito Puente and his orch. - Yambeque '56 18.   George Shearing Quintet feat. Candido - Tempo de cencerro pt.1&2 ‘55 19.   Candido - Candido's cocktail '58 20.   Cal Tjader Quintet (feat. Willie Bobo, Mongo Santamaria) - Night in Tunisia ‘62 21.   Conte Condoli with Art Pepper and Jack Costanzo - Mambo jumbo '58 22.   Kenny Dorham - Afrodesia '55 23.   George Shearing Quintet feat. Armando Peraza - Nothing but the best ‘59 24.   Stan Kenton - Quien sabe '56 25.   Jack Costanzo - Mira como los pollos '57 26.   Michel Legrand - Caravan '57 27.   Dave Pell - Mambo #5 '60 28.   Tito Puente and his orch. - Mambo beat '57 29.   Joseph Liebman - Mambo mia '63 30.   Noro Morales - Vitamina '74 31.   Billy Taylor Trio feat. C. Mingus - Tiroro '52 32.   Dizzy Gillespie Big Band - Manteca '48

My guest Omar Mesa is...formerly the original lead guitarist of the great Afro-Cuban band...MANDRILL. They had such recording hit as FENCEWALK, HANG LOOSE and my favorite  POLK STREET CARNIVAL.  https://images.app.goo.gl/KQ2oBbrzS74qfqpJ9 He has out a recent single I LOVE THE WAY YOU READ MY MIND. Take a listen below:  (I LOVE THE WAY YOU READ MY MIND - 44K 16 Bit by OMAR MESA on #SoundCloud https://soundcloud.com/user-148566702/i-love-the-way-you-read-my-mind-44k-16-bit?ref=clipboard&p=a&c=0&si=a9a6ddce3083415cbf79c6816ce0c172&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing). and be ready for a funny yet informative conversation.

When I first heard this recording of men gathered around a guitar, singing fragments of traditional songs and inventing lyrics on the spot, with women and children laughing in the background - it hit me: music isn't just sound, it's connection. It's a reminder of the timeless beauty in coming together, sharing stories, passing down traditions, and creating something meaningful in the moment.Curious about what the singers were saying, I reached out to people from Central Africa, and the response was surprising - those improvised lyrics were built from single words in regional slang. In this kind of music-making, it often starts with one word, then another, and before you know it, a whole verse is born. It's spontaneous, alive, and beautifully organic.For my remix, I used the main melody of the original field recording as the foundation, blending in those improvised words as fillers. I also incorporated the traditional rhythm of Soukous - a guitar-driven genre from Congo, often referred to as Congolese rumba, which mixes Afro-Cuban folkloric influences.Just like our ancestors sang around the fire, united by song, we too continue this tradition today - whether around a campfire or through modern technology, remixing old recordings into something new. Music is more than entertainment; it's a bond, a message, a celebration of community, and a bridge to the past. From kings sending musicians ahead of their armies to show unity, to modern-day communities of music lovers sharing sounds across the globe - we keep passing the sound from generation to generation. And that's what keeps us together.Afternoon beneath a palm shelter reimagined by micca.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Con Leonor González Mina, Óscar de León, Willy Colon ft. Héctor Lavoe, Willie Colon y Rubén Blades, El Gran Combo de Puerto Rico, Eddie Palmieri, Cachao y Afro-Cuban, Adalberto Álvarez y su Son, Sonora Ponceña, Tito Rodríguez, Catalina y Las Bordonas de Oro y Los Coleguitas ft. Andrea Paracuto.

The visionary pianist and SFJAZZ Resident Artistic Director returns for a multi-night residency that fuses Afro-Cuban roots with global sounds, which he calls the ultimate "Temple of Jazz."Show Highlights: A Week of Musical EvolutionSosa's residency at SFJAZZ offers an insight into his diverse musical pursuits across four distinct nights.Thursday, Mar 5: Sosa joins the Stanford Jazz Orchestra to perform music from the album Es:Sensual.Friday, Mar 6: Following an Open Soundcheck, Sosa performs with the Aguas Trio, featuring Yilian Cañizares, a collaboration that previously earned him a Premios LUCAS for Best Song Video.Saturday, Mar 7: The focus shifts to the Omar Sosa Quarteto Americanos.Sunday, Mar 8: The residency closes with the Suba Trio, showcasing material from their 2021 album SUBA—a "hymn to hope" for a post-pandemic world.If You GoWho: Resident Artistic Director Omar Sosa Dates: Thursday, March 5 – Sunday, March 8, 2026 Times: 7:30 PM (Thu-Sat); 7:00 PM (Sun); 4:30 PM (Fri Soundcheck) Venue: SFJAZZ Center, Miner Auditorium Address: 201 Franklin Street, San Francisco, CA 94102Tickets: https://www.sfjazz.org

In this episode of One Symphony, conductor Devin Patrick Hughes sits down with pianist/composer Joachim Horsley to explore Afro-Cuban rhythm, genre “walls,” and what orchestras can learn from dance-driven music. Horsley shares how he got “fired” from classical piano lessons, why rhythm is the “warrior that carries the message,” and how Afro Bachreimagines Bach through Caribbean and Latin frameworks—without losing the soul of the original. Episode excerpts include: “Bach's Cuban Concerto for Piano and Tres” “Beethoven in Havana” “African Partita (Afro Bach Overture)” “Bach Cumbia” “Afrobeats Prelude and Amapiano Fugue” Want behind-the-scenes extras and a way to support the show? Join the Patreon: https://patreon.com/OneSymphonywithDevinPatrickHughes?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_fan&utm_content=copyLink

Camila Cortina is a terrific Cuban-born pianist and composer. She combines her Afro-Cuban heritage with jazz, classical, and world music. She has performed internationally at festivals in the U.S., Latin America and Asia, collaborating with artists like Paquito D'Rivera, Miguel Zenón, Terri Lyne Carrington, and Dianne Reeves. Her work “Bravura” premiered at London's Barbican Centre. She won the Duke Ellington Award.My featured song is “Mi Cachimber”, my recent single. Spotify link.—-----------------------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH CAMILA:www.camilacortina.com—----------------------------------------ROBERT'S LATEST RELEASE:“MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars.CLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—---------------------------------------ROBERT'S RECENT SINGLE“MI CACHIMBER” is Robert's recent single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhornCLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—--------------------------------------ROBERT'S LATEST ALBUM:“WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com  

In “How a Humble Crab Dish Became the Soul of Tampa,” Gravy producer Nicole Hutcheson travels across Tampa to trace the story of a lesser-known local dish—crab chilau. Every city has a dish that says something true about the people who built it. In Tampa, that dish is crab chilau. Made with blue crabs and simmered in tomatoes, garlic, spices, and served over pasta, crab chilau is shaped by Sicilians, Cuban and Afro-Cuban families, and Tampa's Black community—each group adding a twist to make it their own. Hutcheson's journey travels from historic Ybor City to rapidly gentrifying corridors of the city, and even knee-deep into the marshy waters of Tampa Bay. Along the way, she meets the people carrying crab chilau forward today: Enzo Pardo, a Sicilian chef reimagining the dish through his own heritage; Jesus Puerto, a Tampa native who returned home after decades away to stake his claim; and Reggie Nelson, an enterprising businessman and chef building a name for himself while preserving a culinary legacy rooted in community. Listeners hear first-hand how crab chilau isn't a single recipe. Instead it's what happens when different cultures, customs, and lived experiences come together in the same pot and city. No one version is the same—some are spicier, some brown the sauce until it resembles a stew. Others keep it closer to a sofrito. Add-ins like ground beef, smoked sausage, and snow crab aren't deviations; they're evidence of a dish built to evolve and feed a crowd. Through personal encounters in kitchens, restaurants, and the outdoors, Hutcheson shares how crab chilau reflects the way Tampa's food culture itself was built: informally, collaboratively, and without a singular owner. From cooks freestyling the pot to meals designed to nourish entire neighborhoods, the dish tells a larger story about gathering, creativity, and culture. Crab chilau is a living record of how cultures meet and adapt. Listeners will walk away from this episode with a deeper sense of Tampa's identity and place in the American South. Learn more about your ad choices. Visit megaphone.fm/adchoices

Buena Vista Social Club is a Tony Award-winning Broadway musical. Inspired by true events, the musical brings the Grammy award-winning album to life, recounting the story of the legends who lived it. Step into the heart of Cuba, beyond the glitz of the Tropicana, to a place where blazing trumpets and sizzling guitars set the dance floor on fire. A world-class Afro-Cuban band and a sensational cast unite in this unforgettable tale of survival, second chances, and the extraordinary power of music. On this episode, Mel Semé, Jainardo Batista Sterling, Isa Antonetti, Da'von T. Moody, and Wesley Wray perform and discuss the musical. Moderated by Patricia Hadden, here is the cast of Buena Vista Social Club. Watch this episode at youtube.com/TalksAtGoogle.

Jazz88's Peter Solomon speaks with singer, composer, and songwriter Yazmin from the band Yazmin and Beat Zero. As a teenager in rural Wisconsin, Yazmin fell in love with the sounds of Cuba, and and as an adult she spent a few years studying dance and music there. Her band is a fusion of her original songwriting, classical, jazz, funk, and Afro-Cuban sounds. On Saturday, November 22nd, Yazmin and Beat Zero will play the Parkway Theater in a shared billing with Mama Digdown's Brass Band. The Havana String Quartet will join them onstage for that event.

Arturo Sandoval is a legendary trumpeter, pianist and composer. Since he defected from Cuba over 30 years ago his accomplishments have been simply remarkable. He's a 2024 Kennedy Center Honoree. He's won 10 Grammys, 6 Billboard Awards, an Emmy, the Hispanic Heritage Award, the Presidential Medal of Freedom, and a Grammy Lifetime Achievement Award. He's a master of Afro Cuban rhythms and a virtuoso in both jazz and classical music. He's performed at the White House and at the Super Bowl.My featured song is my newest single, “Mi Cachimber”. Spotify link.—-----------------------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH ARTURO:www.arturosandoval.com—----------------------------------------ROBERT'S LATEST SINGLE:“MI CACHIMBER” is Robert's latest single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhornCLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—--------------------------------------ROBERT'S LATEST ALBUM:“WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com  

In this episode of The Storykeeper on Words on a Wire, host Tim Z. Hernandez sits down with poet, performer, and educator Darren J. de Leon to explore his new collection The Hoops and Crosses of Mt. Vernon (Hinchas Press, 2025). Blending poetry and fiction, de Leon's debut offers vivid portraits of life in San Bernardino's working-class neighborhoods and the formative tensions of growing up between danger and possibility.De Leon reads from his stories “Kmart” and “This Street Does Not Go Through,” weaving memories of skateboarding under the glow of a department-store sign with reflections on inheritance, family, and survival. He discusses how his years teaching youth “in risk” shaped his desire to write for young adults—those on the edge of choices that can determine their futures. For de Leon, language itself becomes liberation: “There are no laws in poetry, only the word.”The conversation traces his journey from the Mission District classroom to San Francisco's electrifying 1990s spoken-word scene, where he co-founded the avant-garde ensemble Los Delicados. With Hernandez, de Leon revisits that era's fusion of poetry, politics, punk energy, and Afro-Cuban rhythm that redefined Latinx performance art.The episode closes with de Leon's powerful reading of a coming-of-age poem about youth, desire, and self-discovery—an echo of the book's central themes: voice, risk, and the freedom to define one's own story.

Esoteric Crossroads: Scholars Meet Practitioners is a new collaborative video series, launched in 2025, co-produced by Rejected Religion and RENSEP. Hosted by Stephanie Shea, each session brings together scholars and practitioners for thoughtful dialogue on esoteric traditions.This audio replay is an edited version of the live session that took place in September 2025. If you are interested to learn more and join the upcoming discussions, please visit www.rensep.org or my Patreon page: www.patreon.com/RejectedReligion. The Free Content video replay can also be viewed on my YouTube channel. In this episode, scholar Sarah Nimfürh and practitioner Raisel Tejeda explore the layered world of Regla de Osha—often known (and contested) as Santería—and its intersections with Judaism, Afro-Cuban spirituality, and lived ritual. Topics we explore: How Jewish exile histories in Cuba intersect with Afro-Cuban poly-religious traditions The term “Santería”: its contested use, political weight, and the preferred name “Regla de Osha” Oral transmission, secrecy, and gendered limitations in research Raisel's training path across multiple traditions and what embodied practice looks like Orishas as energies, guides, and cosmological forces Ritual tools, altered states, and the material language of devotion How practitioners adapt sacred practice to local ecologies and diasporic settings This conversation bridges scholarship and lived experience, offering insight into a tradition that is both deeply rooted and dynamically evolving. Theme Music & Video Production: Stephanie Shea

Renowned pianist and multi-Grammy winner Gonzalo Rubalcaba is set to perform at the Indy Jazz Fest this Friday, Sept. 19, at 8 PM at the Schrott Center for the Arts in Indianapolis.This marks Rubalcaba's first performance in Indiana, bringing his celebrated talent to the state as part of the ongoing festival. The event is a highlight for the Indy Jazz Fest, which aims to showcase exceptional musical talents from around the world.Gonzalo Rubalcaba, originally from Havana, Cuba, has been a significant figure in the jazz world since being discovered by Dizzy Gillespie in 1985. He has since won multiple Grammy and Latin Grammy awards, establishing himself as a creative force in music.Rubalcaba's music is deeply influenced by Afro-Cuban genres and his upbringing in the culturally rich neighborhood of Cayo Hueso in Havana.Pavel Polanco-Safadit expressed excitement about Rubalcaba's appearance at the festival, noting that it was a long-standing dream to bring him to Indianapolis.The upcoming performance by Gonzalo Rubalcaba at the Indy Jazz Fest is anticipated to be a memorable event for jazz enthusiasts in Indiana, offering a rare opportunity to experience his exceptional artistry live.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Please remember to rate and review our podcast!Check out your YouTube channel @comadresycomics  CHISME DE LA SEMANA:  Barrio Logan location of Border X Brewery permanently closed.  ON MY RADAR:  Ignition Press releases Murder Podcast. W: Jeremy Hahn A: Mike Tisserand. First issue out Sept. 10th! ignitionpress.com @ignitionpressBOOK REVIEW:  Lucha Forever (available for free on Hoopla) W: John Aviña A: Mozart Eros C: Julio Santos L: Spacely X www.avinacomics.com @avinacomicsGuillermo Diaz is a struggling actor and father. Having moved his family from Mexico to Chicago, Guillermo is unable to provide the life he promised. Suddenly the role of a life time becomes available but with it an alien invasion and powers beyond his imagination.www.comickerpress.com  www.avinacomics.com www.hoopla.com EN LA LIBRERIA:  HOW TO TOUCH GRASS is a comics anthology about connection, isolation, and accessibility, all through the lens of the goofy command to "touch grass," balancing humor with sincerity. http://kck.st/47bkVJN How to Touch Grass published by Power & Magic Press, an indie comics publisher in Portland, OR. Their mission is the creative and economic empowerment of queer creators, BIPOC creators, and creators at the intersections. The driving force behind P&M Press is Joamette Gil, a queer Afro-Cuban cartoonist, and editor of all the award-winning(-and-nominated) titles at P&MP. To learn more, visit us at powerandmagicpress.com.- JUNTOS Y FUERTES:  Comics Plus Home - Comics Plus® — Powered by LibraryPass™SALUDOS:  In The Lab Podcast by Mark C. Dudley on YouTube In The Lab Ep1: With Christie Shinn on BullyingFollow us on socials @comadresycomicsVisit our website comadresycomics.comProduced by Comadres y Comics Podcast

Pianist and composer Omar Sosa draws on his own Afro-Cuban heritage, American jazz, and spiritual and meditative practices from around the world to create music that defies categorization. He's traveled widely, especially in Africa, recording the sounds of the people, the animals, and the instruments of those places and sometimes incorporating them into his own works. Sosa, along with the Cuban-born, New York-based sax player Yosvany Terry, and drummer Julian Miltenberger, play new music, in-studio. Set list: 1. Bola 2. My Three Notes (Mis Tres Notas) 3. Muevete en D

Episode summaryViolinist–vocalist Yilian Cañizares joins Backstage Bay Area to talk about the musical DNA that powers her work—classical discipline, Afro-Cuban tradition, and the open-ended spirit of jazz. She reflects on the new single “Ore,” the cross-Atlantic pulse of “Habana-Bahia,” and the next chapters: a fall EP and her full-length album Vitamina Y. Along the way, Yilian opens up about freedom, ritual, collaboration, and how she wants audiences to feel when the trio takes the stage.GuestYilian Cañizares is a Havana-born, Switzerland-based artist known for fusing conservatory-level violin with Afro-diasporic rhythm and improvisation. A Montreux Jazz Festival awardee, she tours internationally with a trio featuring Childo Thomas (bass) and Inor Sotolongo (percussion).Highlights (no timestamps)The meaning of “freedom” in her music: composing, improvising, and singing from an honest place.The backstory of “Ore”: a gift from childhood friend Yasser “El Gozo” that reconnects her to Cuban roots and the diaspora.Crafting “Habana-Bahia” in Salvador, Brazil: sisterhood, women's empowerment, and the Cuba–Bahia link through Africa.Why the trio format (violin/voice, bass, percussion) is the perfect vehicle for spontaneity and audience connection.Vitamina Y: the “vitamin people” who nourish her life and the album's goal to uplift listeners.The rollout plan: “Vamos Florescer!” and more singles leading to the full album release.What to expect live at SFJAZZ's Joe Henderson Lab: intimate room, evolving setlists, and early previews of new material.Music referenced in this episode (with permission)“Ore” (single)“Habana-Bahia” (title track from the 2023 project)“Vamos Florescer!” (from the forthcoming Vitamina Y rollout)Quotes “Jazz, for me, is freedom—the freedom to express how I feel in the moment and to share my vision of the world.”“Every song has to come from a place of honesty, where people can know my heart a little better.”“We want to deliver something unique every time we play.”LinksArtist website: yiliancanizares.comTickets: SFJAZZ.org → Joe Henderson Lab, Yilian Cañizares (Sept 25–26; 7:00 & 8:30 p.m.)Backstage Bay Area: BackstageBayArea.comCreditsHost & producer: Steven RobyAudio editing & post: Backstage Bay AreaArtwork/Photography: Frank SochaHashtags#YilianCañizares #VitaminaY #BackstageBayArea #AfroCubanJazz #JazzViolin #SFJAZZ #JoeHendersonLab #HabanaBahia #Ore #BayAreaMusicCall to actionIf you enjoyed this conversation, follow Backstage Bay Area on your favorite podcast platform and leave a rating or short review—it helps more listeners discover the show.

Episode 15 drifts in slow with sunset-poolside energy — inspired by seeing Empire of the Sun live in London. From warm grooves and nu-disco flavours to tropical house anthems, this week's journey moves gently from day into night. Treasure Track Michael Calfan – Treasured Soul (2015) — a global anthem that hit the UK Top 20 and went gold across Europe. The Gregor Salter & Michael Calfan remix breathes new life into this house classic. New Wave Artist Cuban duo PAUZA bring Afro-Cuban percussion and soulful energy to the dancefloor, with their track La China alongside Arema Arega showcasing their vibrant, organic sound. Melodic Map We land in Marbella with Adam Ten, whose remix of Empire of the Sun – Music On The Radio blends Tel Aviv underground punch with coastal melodic warmth. Tropical Transition Surf Mesa, whose breakout hit ily (I love you baby) went viral and reached the Billboard Hot 100, leads today's transition with his dreamy, feel-good sound on DARE. Sunset Strip Featuring tracks from L'Impératrice, Satin Jackets, FKJ, Federico Scavo, Gio Lucca, and more.

Show NotesBackstage Bay Area welcomes the vibrant Afro-Cuban duo, OKAN—Elizabeth Rodriguez and Magdelys Savigne—for an inspiring discussion about music, identity, and resilience.In this episode, host Steve Roby dives deep with OKAN as they share:Their humble start at making music in a Toronto basement and finding their creative voices.The meaning behind the name "OKAN" and how honoring their roots and heart shapes their sound.Balancing life as musicians, partners, and parents on the road—including stories of their young son joining them on stage.Collaborating with Brazilian multi-instrumentalist Munir Hossn on their new single "PomPom" and exploring the unique process of blending Afro-Cuban and Afro-Brazilian influences.Their songwriting process, the importance of supporting women composers, and how spiritual well-being and self-love fuel their art. The making of their Juno-winning album "OKAN Tumi," and a sneak peek at their upcoming, more digitally influenced fourth album.What to expect at their upcoming SF Jazz shows—featuring new music, dance floor energy, and a family affair on stage.Tune in for exclusive tracks, behind-the-scenes stories, and a celebration of music that unites cultures and generations.Featured Music:"Pompom" (with Munir Hossn)"OKAN Tumi"“Me Merezco” – Exclusive previewUpcoming Shows:Catch OKAN at SF Jazz's Joe Henderson Lab for four shows over two nights—details and tickets are available at sfjazz.org. For more music and tour dates, visit okanmusica.com.Listen now for a journey of heart, rhythm, and the power of believing in your own voice.

This week on Spaghetti on the Wall, we're joined by Michelle Malentina—actor, singer, and the powerhouse creative behind the stage name Malentina. Known as the “Mambo Queen of the South,” Michelle blends Puerto Rican heritage, Afro-Cuban rhythms, and Southern flair into her art. You've seen her in films like Heart Strings, Stowaway, and the award-winning short Violet Butterfield: Makeup Artist for the Dead.We'll be diving into her journey as a multidisciplinary artist, how she brings culture to life through music and film, and what's next on her creative horizon.

Legendary pianist and bandleader Eddie Palmieri died this month at his home in Hackensack. He was 88. Palmieri was celebrated for his innovations in jazz and Afro-Cuban rhythms, as well as using his music to speak out against injustice. Ed Morales is an author and journalist who recently wrote the article, "Eddie Palmieri's 13 Essential Songs and Albums," in The New York Times. Morales takes us on a journey through Palmieri's music and listeners share their favorite songs.

In 1989, Keith LaMar (aka Bomani Shakur) was sent to prison at age 19 for murder. He had been living in Cleveland, Ohio, where he sold drugs as a means of survival in the Crack-infested streets he knew as home. On a day that would forever change his life, Keith was robbed at gunpoint and exchanged gunfire with his robbers. He was shot twice in his legs and hit one of the other men in the chest. That young man, one a childhood friend, died. Keith pled guilty and was sent to prison for 18 years-to-life. Four years later, Keith was attempting to put together the broken pieces of his life at the Southern Ohio Correctional Facility, hoping for another chance at life. It was an Easter Sunday, and the weather had just turned warmer; Keith and about 400 other men were outside exercising in the rec-yard when commotion broke out inside and it became clear that some type of protest was underway. Keith made a quick decision to slip inside for a few minutes to secure his personal belongings (since his cell assignment was in the area being taken over). Once back out in the yard, he and the others waited to see what would transpire, watching as the bodies of several men were dumped onto the yard. As Easter came to an end, the Ohio State Highway Patrol rounded up those on the yard and secured them into another part of the facility. Prison records prove that Keith was among them. Though no one could have predicted what exactly was happening, or how it would all result, an 11-day siege ensued. In the end, nine inmates and one guard ultimately lost their lives. When the dust began to settle, the State of Ohio needed someone on whom to pin several of the early inmate deaths. This is where Keith's troubles began… A few months later, several prisoners were enticed with the promise of early paroles and/or dropped charges if only they would come up with a reasonable story to help the State sweep up the “mess” at their out-of-control prison. They determined Keith would be the fall guy, and they pointed their fingers at him. Thus, to make it all come together convincingly, the prosecution withheld actual confessions from his defense, as well as eyewitness statements that contradicted their fabricated version of events. In spite of zero DNA or forensic evidence, they moved forward with their accusations against Keith. In fact, they made sure his trial would be racially biased in their favor by calling for the removal of the few potential black jurors, and by holding his trial in an all-white county in southern Ohio. In spite of having no motive to kill anyone, no actual proof connecting him, nor any affiliation with any of the groups organizing the uprising, the jury didn't take long to find Keith LaMar guilty of the murder of five of the inmates. He was sentenced to death. Albert Marquès is a pianist, composer, and political activist from a working class, industrial town outside of Barcelona, where he worked in factories through school. A member of a Catalan anti-capitalist organization as a teenager, he narrowly escaped being detained for his activism. Influenced by the local punk scene, as well as jazz recordings of musicians like Chick Corea, Brad Mehldau, Michel Camilo and Herbie Hancock, he was self-taught until he attended Conservatori Superior de Música del Liceu. After graduation, he made two pivotal trips which changed his life, spending a month in the West Bank in Palestine and a month in Cuba. During his four years in Barcelona, he played with the best musicians of the scene, such as Marc Miralta, thanks to his unique, non-academic sound. Upon graduating, he moved to Paris, where he worked in a McDonald's until he learned French. In Paris, he played with musicians such as Remi Vignolo and Pierre Perchaud, and became the pianist in African American drummer Leon Parker's quartet. At 25, Albert moved to New York City, without knowing even one person, to play jazz. After a year and a half working as a waiter and going to jam sessions every night, he met his mentor Arturo O'Farrill, who gave him his own baby grand piano. In addition to his musical influence and encouragement, O'Farrill hired him to teach with his organization, the Afro Latin Jazz Alliance, a non-profit that gives free Latin jazz music lessons in the most disadvantaged New York City public schools. Albert also plays and collaborates with his sons, Adam and Zack O'Farrill. In 2014, he married the sculptor Mia Pearlman, with whom he has two children, Aviva and Sol. It is in New York that he finally combined his biggest influences: contemporary jazz, flamenco, Afro Cuban music and social justice by creating Freedom First. He has recorded four albums as a band leader, and regularly collaborates with rhythm master Ari Hoenig, Spanish flamenco singer and saxophonist Antonio Lizana, and other American and European musicians. ​Marques is the Music Director at the Institute for Collaborative Education in NY, a progressive, public middle and high school in downtown Manhattan.

Send us a textChoreographer and author Rebe Huntman discusses her memoir, how Afro-Cuban culture influenced her worldview, and how that translates into her writing.▬Visit Rebe's website:https://www.rebehuntman.com/Grab a copy of My Mother in Havana:https://www.rebehuntman.com/mymotherinhavanaCheck out Rebe's socials:https://www.instagram.com/rebehuntman/https://www.facebook.com/rebehuntmanauthor/ https://www.pinterest.com/rebehuntman/

My guest today on the Online for Authors podcast is Rebe Huntman, author of the book My Mother in Havana. Rebe's memoir traces her search to connect with her mother—thirty years after her death—among the gods and saints of Cuba. A former professional Latin and Afro-Cuban dancer and choreographer, for over a decade Rebe directed Chicago's award-winning Danza Viva Center for World Dance, Art & Music and its resident dance company, One World Dance Theater. She collaborates with native artists in Cuba and South America, and has been featured in LATINA Magazine, Chicago Magazine, and the Chicago Tribune, and on Fox and ABC.   Rebe's essays, stories, and poems appear or are forthcoming in such places as The Southern Review, The Missouri Review, Parabola, Ninth Letter, The Cincinnati Review, and the PINCH, and have earned her an Ohio Individual Excellence Award as well as fellowships from the Macondo Writers' Conference, Virginia Center for Creative Arts, Ragdale Foundation, PLAYA Residency, Hambidge Center, and Brush Creek Foundation. She holds an MFA in creative nonfiction from The Ohio State University and lives in San Miguel de Allende, Mexico, and Delaware, Ohio. Find her at www. rebehuntman.com and on Instagram @rebehuntman.   In my book review, I stated My Mother in Havana is a profound look at a woman who lost her mother at a young age and continues to grieve for years. It isn't until she goes to Havana that she finally finds peace.   I fully expected to learn that Rebe's mother was Cuban - but she's not. However, Rebe's research about mothers and symbols of motherhood led to her Cuba where the Virgin Mary and the Cuban goddess of love, Ochún, are often intertwined. She wanted to understand this connection - and by doing so, she found healing.   Rebe started life as a dancer and choreographer, and she shines a beautiful light on Cuban dances and rituals along with their gods and saints. I was mesmerized by her ability to throw off her Western upbringing and fully immerse herself in the culture as she tried to discover what makes a mother, what defines the divine feminine, and what she remembered of her own mother.   I loved learning about the Afro-Cuban culture, their spiritual views, and the broader concept of motherhood. I think anyone who is a mother - or has a mother - will enjoy this book.   Subscribe to Online for Authors to learn about more great books! https://www.youtube.com/@onlineforauthors?sub_confirmation=1   Join the Novels N Latte Book Club community to discuss this and other books with like-minded readers: https://www.facebook.com/groups/3576519880426290   You can follow Author Rebe Huntman Website: https://www.rebehuntman.com/ IG: @rebehuntman FB: @rebehuntmanauthor   Purchase My Mother in Havana on Amazon: Paperback: https://amzn.to/3Hnowtn Ebook: https://amzn.to/4mLUPCj   Teri M Brown, Author and Podcast Host: https://www.terimbrown.com FB: @TeriMBrownAuthor IG: @terimbrown_author X: @terimbrown1   Want to be a guest on Online for Authors? Send Teri M Brown a message on PodMatch, here: https://www.podmatch.com/member/onlineforauthors   #rebehuntman #mymotherinhavana #memoir #terimbrownauthor #authorpodcast #onlineforauthors #characterdriven #researchjunkie #awardwinningauthor #podcasthost #podcast #readerpodcast #bookpodcast #writerpodcast #author #books #goodreads #bookclub #fiction #writer #bookreview *As an Amazon Associate I earn from qualifying purchases.

Gaea Star Crystal Radio Hour #626 is an hour of sinuous, dynamic acoustic improvised music played by The Gaea Star Band with Mariam Massaro on vocals, Native flute, dulcimer, harmonica, shruti box, acoustic guitar and ukulele, Bob Sherwood on piano and Craig Harris on congas and Native drum. Recorded live on a hot June day in 2025 at Singing Brook Studio in Worthington, Massachusetts, today's show begins with the upbeat, shimmering “May The Floodgates of Love Open Wide”, a breathless, energized song driven by Mariam's chiming dulcimer, imaginative piano and throbbing congas. “All Life Unfolds” is a powerful, mysterious drone song with an ancient British Isles vibe, Mariam's fundamental message supported by heartbeat Native drum, imaginative piano and tight, racing dulcimer work. “One More Day” is a powerful raga version of the track from Mariam's “Release” album that features powerful vocals and soaring Native flute lines interspersed over wide-ranging classical piano figurations. “Going Down To The River” is a hallucinogenic summer ballad featuring a fine melody and imaginative, intense work from the ensemble and “Amaru Machay” is a powerful, spiritual song by Mariam about an ancient Andean cave rendered in a funky Afro-Cuban frame. “Painty The Turtle” is another relaxed, summery narrative about a little turtle and her babies at Singing Brook Farm and “Reborn”, a favorite Mariam song of the band's is a rocking, acoustic-guitar driven requiem with powerful lyrics. “Salamini” is a mystical, delicate ballad with a gorgeous vocal from Mariam and liquid, shimmering piano and “Summer Solstice” is a gently percolating, bluesy summer dream that showcases the ensemble's laid-back side. Today's show ends with the dreamy “Make A Difference”, an affecting minor ballad with earthy Native drum, chiming acoustic guitar, circular, imaginative piano and a lilting, gentle melody from Mariam. Learn more about Mariam here: http://www.mariammassaro.com

Cheikh Ibra Fam is a singer and songwriter from the West African nation of Senegal; he toured the world singing with Senegal's famous dance band, Orchestra Baobob, for six years. In 2022, he released his first solo record, Peace in Africa, and in October he'll release his new album, Adouna, or Life, which draws from Afro-Cuban rhythms and classic soul. Cheikh Ibra Fam and his band preview these new songs of hope and resilience, in-studio. 

What would compel a woman from Ohio to fly to Havana in search of her deceased mother—three decades after her passing? Meet Rebe Huntman, author of My Mother in Havana: A Memoir of Magic & Miracle, whose powerful story of loss, grief, and rebirth will leave you spellbound. At 19, Rebe lost her mother to cancer. But it wasn't until 30 years later that her healing truly began—when she followed a spiritual call to Cuba and stepped into the mystical world of Afro-Cuban religions. Through seances, Santeria, and communion with gods, ghosts, and saints, Rebe discovered more than ancestral wisdom—she found her mother again. In this intimate interview, Rebe shares how her journey through Afro-Cuban traditions redefined grief and why these vibrant practices helped her reconnect with what was lost but never gone. This is a story of magic, miracles, and the transformative power of spiritual seeking across borders and beliefs. Ready to be inspired and uplifted? Don't miss it!WATCH ON YOUTUBE: https://www.youtube.com/watch?v=wIMONvLg74M&list=PL7judgDzhkAWmfyB5r5WgFD6ahombBvoh&index=3IN THIS EPISODE, YOU'LL HEAR ABOUT THINGS LIKE:Navigating grief that resurfaces decades later.Seeking connection with deceased loved ones through spiritual traditions.The power of seances and mediumship in bridging the gap between worlds.The value of pilgrimage as a tool for healing and self-discovery.Creating personal rituals to honor ancestors and maintain connection.How writing can be a transformative act of healing.Learning from Afro-Cuban spiritual traditions like Santeria and Spiritism.Understanding the role of gods, ghosts, and saints in everyday life.Embracing the messy, multifaceted nature of life and identity.Finding joy by confronting vulnerability and accepting imperfection.The concept of becoming an ancestor and leaving a positive legacy.SOME QUESTIONS IRENE ASKS REBE:How did you initially react to losing your mom? What was your relationship with her like?Who helped you speak to your mother from beyond the grave?Share some of the things that you learned from the gods and goddesses of Cuba.What would you like to tell us about your book and about why you created it?You recommend writing as a healing tool. Why?If healing grief offers us the opportunity to keep the dead close, how does it act as an invitation to create space and rituals in our lives?What is the Rebe tip for finding joy in life?---✨ Grief & Rebirth: Healing Resources & Tools ✨

In our next Grief and Rebirth interview, you'll hear from Rebe Huntman about her deeply moving journey of losing her mother to cancer at the age of 19 and, 30 years later, traveling from Ohio to Cuba in search of her mother through Afro-Cuban religions. Her experiences are beautifully encapsulated in her memoir, 'My Mother In Havana: A Memoir of Magic and Miracle.' Join us to find out how Rebi found solace and profound insights from the gods, ghosts, and saints of Cuba, ultimately teaching her that our loved ones never truly leave us.---✨ Grief & Rebirth: Healing Resources & Tools ✨

There's no shortage of Cuban restaurants in Florida. But one stands out for its commitment to the history and culture of Cubans of African descent.At Soul de Cuba Cafe in Tampa's Seminole Heights neighborhood, the decor includes dozens of framed family pictures—the ancestors of the restaurant's founder and CEO, Jesús Puerto. On one wall, there's a mural-size black-and-white photo from 1944 depicting dark-skinned people socializing and dancing—the women in dresses, the men in suit jackets and Panama hats. They were members of Martí-Maceo Society, a social club for Tampa's Black Cubans, formed because segregation kept them from joining a similar group full of their lighter-skinned counterparts.Jesús wants guests to leave with knowledge—and with full bellies, of course. The menu includes traditional Cuban favorites like roast pork and ropa vieja, as well as modernized options, such as mojo salmon and veggie empanadas. He also sells a line of take-home sauces.Jesús chatted with Dalia about what makes Afro-Cubans unique, the importance of knowing your history and Soul de Cuba Cafe's must-try foods and cocktails. He also makes a case for why Tampa, not Miami, deserves bragging rights as the birthplace of the Cuban sandwich.Thanks to Jim Webb for the episode suggestion and photos of Soul de Cuba Cafe. If you'd like to suggest a Zest guest, email us at info@thezestpodcast.com.Related episodes:Former “Real Housewife” Ana Quincoces on Her New Cookbook, “Modern Cuban”Miami Herald's Carlos Frías on Cuban Coffee, Edible Iguanas & Winning the James Beard AwardThe Cuban Sandwich: Our National TreasureHow “Food Led the Way” for Cuban Influence in Tampa

When he was five years old, Max Pollak had a moment. Sitting in front of a black-and-white television in suburban Vienna, he saw Fred Astaire tap dancing for the first time. “I was so spellbound by his elegance and his effortless swinging persona that I immediately decided I have to learn how to do that,” he remembers. He didn't understand the cultural context or the language, but he knew that whatever was happening on that screen — the rhythm, the movement, the magic — was something he had to pursue. That moment sparked a lifelong journey that would take him from Austria to Harlem to Havana and back again. Here, Max Pollak tells the remarkable story of how he taught himself to dance in a place where no formal tap training existed. Early on, improvisation wasn't just part of his style — it was the only way forward. That instinctive relationship with rhythm would become the foundation of his unique voice as an artist. At 14, Pollak met his first mentor: Carnell Lyons, a master tap dancer from Kansas City who had relocated to Europe during the civil rights era. Lyons had grown up alongside Charlie Parker and had performed with jazz legends. He passed on not only the technical language of tap, but a deep awareness of the art form's Black American roots. That relationship shaped the way Max approached dance — not just as choreography, but as culture. After moving to New York, Max began studying drums and enrolled in Bobby Sanabria's Afro-Cuban ensemble at The New School. It was there that he was asked the question that would redefine his artistic path: Do you want to tap dance to Cuban music — or do you want to tap dance Cuban music? Inspired by that challenge, Pollak dove into Afro-Cuban music, learning the language of clave and fusing it with tap, body percussion, and voice. The result was RumbaTap — a groundbreaking synthesis of traditions that bridges continents and cultures. When members of the legendary Los Muñequitos de Matanzas saw Max perform, they asked him to teach them. That moment affirmed the authenticity of his approach and led to collaborations in Cuba that brought him closer to the source of the music he had been drawn to for so long. Today, Max Pollak is widely recognized as one of the most innovative tap dancers in the world. His contributions to the language of tap, particularly in blending it with Afro-Cuban music and body percussion, have earned him international recognition — including the rare honor of having his image featured on a United States postage stamp. He's also a vocalist, drummer, composer, and storyteller. This week, he celebrates the 25th anniversary of RumbaTap with a special performance at 92NY, featuring members of Los Muñequitos. This episode came together unexpectedly, sparked by a tip from bassist and composer Alexis Cuadrado, who sent me the press release for the 92NY concert. I reached out to Max for a short interview — and the conversation turned out to be so rich and wide-ranging that I decided to share it in full. We talk about lineage, improvisation, spirituality, and what happens when you follow the rhythm only you can hear. www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

Rebe Huntman joins Let's Talk Memoir for a conversation about who are we as women and what holds us together as a culture, following questions to their conclusions and changing in the process, running away from grief,  magical thinking, reinventing ourselves, Afro-Cuban traditions and relationships to the dead, hungering for answers, permission to be more than one thing, losing mothers and finding them again through memoir, spiritual mothers and keeping the dead close, and her new memoir My Mother in Havana: A Memoir of Magic & Miracle. Also in this episode: -getting a do over -trusting the writing process -including the beautiful and the terrible Books mentioned in this episode: When Women Were Dragons by Kelly Barnhill The Night Circus by Erin Morgenstern Poetry by Richard Blanco Poetry by Aracelis Girmay REBE HUNTMAN is the author of My Mother in Havana: A Memoir of Magic & Miracle (February 2025, Monkfish Books), a memoir that traces her search to connect with her mother—thirty years after her death—among the gods and saints of Cuba. A former professional Latin and Afro-Cuban dancer and choreographer, for over a decade Rebe directed Chicago's award-winning Danza Viva Center for World Dance, Art & Music and its resident dance company, One World Dance Theater. She collaborates with native artists in Cuba and South America, and has been featured in LATINA Magazine, Chicago Magazine, and the Chicago Tribune, and on Fox and ABC. Rebe's essays, stories, and poems appear or are forthcoming in such places as The Southern Review, The Missouri Review, Parabola, Ninth Letter, The Cincinnati Review, and the PINCH, and have earned her an Ohio Individual Excellence Award as well as fellowships from the Macondo Writers' Conference, Virginia Center for Creative Arts, Ragdale Foundation, PLAYA Residency, Hambidge Center, and Brush Creek Foundation. She holds an MFA in creative nonfiction from The Ohio State University and lives in San Miguel de Allende, Mexico, and Delaware, Ohio. Both e's in her name are long. Find her at www. rebehuntman.com and on Instagram at @rebehuntman. Connect with Rebe: Website: www.rebehuntman.com Instagram: https://www.instagram.com/rebehuntman Facebook: https://www.facebook.com/rebehuntmanauthor Links to purchase the book at www.rebehuntman.com/mymotherinhavana   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

The Indian-born tabla player and composer, teacher, and advocate Zakir Hussain, son of Ustad Alla Rahka, who passed away in late 2024, wasn't just a virtuoso improviser - he was one of the world's exceptional percussionists, working in many genres, and was the world's preeminent tabla master. He was a great communicator in many musical languages, including jazz, Afro-Cuban rhythms, Nigerian talking drums, or Indonesian gamelan; he was also a great listener and a bringer of joy (editor can't help herself.) One of the most exciting ways that Zakir Hussain shared tabla specifically, and percussion more broadly was by way of the Masters of Percussion Tour – which was exactly as stunning and marvelous as a music fan (especially a drum nerd) might ever imagine. Zakir turned the tabla into a global instrument by way of his incredible collaborations, playing with everyone from George Harrison to Mickey Hart of the Grateful Dead, from John McLaughlin's Shakti and Yo Yo Ma's Silk Road Project; he's laid down beats for Scottish fiddlers Charlie McKerron (Capercaillie) and Patsy Reid (formerly of Breabach); played concertos with western orchestras, with and without banjo player Bela Fleck and bassist Edgar Meyer, and performed and recorded with scores of Indian classical musicians. Zakir Hussain enjoyed the different challenges that each new collaborator “will throw at him”. For this edition of the Soundcheck Podcast, Ustad Zakir Hussain joined Pandit Rahul Sharma, the son of illustrious santoor master Pandit Shivkumar Sharma, who established the pedigree of the santoor within Indian Classical Music. Pt. Rahul Sharma has since built on his father's style, “taking the santoor to new corners of the world”, (Darbar.org). Rahul Sharma has also collaborated widely across genres, having released some 60 albums, split between classical Indian music and more experimental recordings. Rahul Sharma and Zakir Hussain played in-studio in Oct of 2024, just about six weeks before Hussain passed away. - Caryn Havlik Set list: 1. Dhun: Misra Pahadi 2. Dhun Keharwa Sharma explains the roots of the santoor, and gives a quick demonstration of its 94 strings which require precise tuning:  Zakir Hussain also gave an intimidatingly fast explainer of some of the syllables of tabla, what the left and right hand might do, with unbelievable and impressive speed: See their performances:    

Yo! Yo! Yo! Yo! Yoooooo! LOL-eros, grab your maracas and get ready for this high-energy episode of #LatinosOutLoud! This episode is dedicated to the amazing production of Buena Vista Social Club on Broadway. Join #RachelLaLoca on the red carpet for opening night of the Broadway musical that touches the soul and pulls at both the heart AND guitar strings! She was joined by Latino theatre expert, Paola "Pie" Soto who covered interviews with band members such as Renestio Avich aka the Jimmy Hendrix of Cuba and trombonist, Eddie Venegas. Rachel got to chat with the celebs that came out to support this tribute to the pursuit of a dream during tumultuous political times. She linked up with icons and former guests of #LOL, like Producers of the show, John Leguizamo, Lin-Manuel Miranda, his father, Luis A. Miranda, Jr, and actress Daphne Rubin-Vega. Other stars captured during this amazing evening include Luna Lauren Velez and Rubén Blades. Also, enjoy a recap of both the musical and red carpet coverage by Rachel and Pie, shot at the Recirculation Bookshop in Washington Heights. ABOUT THE SHOW Inspired by true events, the new Broadway musical BUENA VISTA SOCIAL CLUB™ brings to life the GRAMMY®-winning album and tells the story of the legendary musicians who lived it. A world-class Afro-Cuban band joins a sensational cast in this unforgettable story of survival, second chances, and the extraordinary power of music. With a book by Marco Ramírez (Drama Desk Award, The Royale), direction by Saheem Ali (Tony Award nominee for Fat Ham), and a visionary creative team, BUENA VISTA SOCIAL CLUB™ showcases the golden age of Cuban music. The production features choreography by Patricia Delgado and Tony Award winner Justin Peck (Illinoise, Steven Spielberg's West Side Story). Follow Rachel Follow Buena Vista Social Club Follow Recirculation https://www.wordupbooks.com/recirculation And while you're at it, follow the yellow brick road! #LatinosOutLoud #Broadway #BuenaVistaSocialClub #RachelLaLoca #LinManuelMiranda #LuisMiranda #RubenBlades #DaphneRubinVega #LunaLaurenVelez #RubenBlades

Yo! Yo! Yo! Yo! Yoooooo! LOL-eros, grab your maracas and get ready for this high-energy episode of #LatinosOutLoud! This episode is dedicated to the amazing production of Buena Vista Social Club on Broadway. Join #RachelLaLoca on the red carpet for opening night of the Broadway musical that touches the soul and pulls at both the heart AND guitar strings! She was joined by Latino theatre expert, Paola "Pie" Soto who covered interviews with band members such as Renestio Avich aka the Jimmy Hendrix of Cuba and trombonist, Eddie Venegas. Rachel got to chat with the celebs that came out to support this tribute to the pursuit of a dream during tumultuous political times. She linked up with icons and former guests of #LOL, like Producers of the show, John Leguizamo, Lin-Manuel Miranda, his father, Luis A. Miranda, Jr, and actress Daphne Rubin-Vega. Other stars captured during this amazing evening include Luna Lauren Velez and Rubén Blades.Also, enjoy a recap of both the musical and red carpet coverage by Rachel and Pie, shot at the Recirculation Bookshop in Washington Heights. ABOUT THE SHOWInspired by true events, the new Broadway musical BUENA VISTA SOCIAL CLUB™ brings to life the GRAMMY®-winning album and tells the story of the legendary musicians who lived it. A world-class Afro-Cuban band joins a sensational cast in this unforgettable story of survival, second chances, and the extraordinary power of music.With a book by Marco Ramírez (Drama Desk Award, The Royale), direction by Saheem Ali (Tony Award nominee for Fat Ham), and a visionary creative team, BUENA VISTA SOCIAL CLUB™ showcases the golden age of Cuban music. The production features choreography by Patricia Delgado and Tony Award winner Justin Peck (Illinoise, Steven Spielberg's West Side Story).Follow RachelFollow Buena Vista Social ClubFollow Recirculationhttps://www.wordupbooks.com/recirculationAnd while you're at it, follow the yellow brick road! #LatinosOutLoud #Broadway #BuenaVistaSocialClub #RachelLaLoca #LinManuelMiranda #LuisMiranda #RubenBlades #DaphneRubinVega #LunaLaurenVelez #RubenBlades Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Cimafunk, a 35-year-old musician dubbed a "global ambassador" for Cuban music, has earned Grammy nominations three years in a row. Blending genres from Latin rock to Afro-Cuban funk, he creates his own unique sound. Senior arts correspondent Jeffrey Brown and senior arts producer Anne Azzi Davenport report the final piece in their series from Havana for our arts and culture series, CANVAS. PBS News is supported by - https://www.pbs.org/newshour/about/funders