Alt.Latino: A conversation with Gloria Estefan

Summary

All Songs Considered: Alt.Latino — A Conversation with Gloria Estefan

Date: October 8, 2025
Hosts: Felix Contreras, Ana Maria Sayer
Guest: Gloria Estefan

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Episode Overview

This special episode of “Alt.Latino” on NPR’s flagship “All Songs Considered” celebrates the legendary singer, songwriter, and icon Gloria Estefan. In a deeply personal and illuminating conversation, hosts Felix Contreras and Ana Maria Sayer speak to Estefan about her trailblazing career, the origins of her music, her influence as a mentor in the Latin music community, and the experiences that shaped her as both an artist and a woman. The dialogue blends fond memories, industry insight, and musical interludes, centering on Gloria’s recent “Tiny Desk” performance and her new album “Raíces.”

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Key Discussion Points & Insights

Gloria Estefan’s Impact and Cultural Reach (05:04–07:17)

• Universal Appeal: Ana reflects on two eras of discovering Gloria Estefan: first as a constant musical presence growing up, then as a cultural powerhouse shaping the direction of Latin music in the United States.
• Breaking Boundaries: Gloria’s sound bridged divides between different Latin American communities in the U.S., and her influence extended well beyond Cuban-American culture.
  • Ana: “There was no version of Latin sound, Spanish language sound in this country that Gloria wasn't a part of... Gloria Estefan talked to everyone. Her music talked to everyone.” (05:46)
• Industry Powerhouse: Gloria worked not only as a groundbreaking artist but also as a businessperson and mentor to others: guiding artists, meeting with label heads, and helping “steer new artists from Latin America into the United States.”

Gloria’s Early Years & Family Influences (08:44–10:43)

• Resilience and Responsibility: Gloria describes her early life caring for her ailing father, coping with significant family responsibilities, and how music served as a necessary escape.
  • Gloria: “When I met Emilio and I joined the band, it was kind of like the first fun that I was really able to have... Not that I was shy, because I've always been a very sociable person, but I don't like being the center of attention...” (08:44)
• Finding Her Voice: Over the years, Gloria pushed herself outside her comfort zone—taking dance and public speaking lessons—to embrace her role as a frontwoman.

The New Album — "Raíces" as an Autobiographical Work (10:31–12:04)

• Return to Roots: Felix and Ana discuss how “Raíces,” Gloria’s latest album, is a magnum opus—a self-reflective homage to her origins, her journey, and the role of family and heritage in her music.
  • Ana: “This is the review, the look back, the homage to where she comes from, where she's been, this whole story. This is the autobiography moment for her.” (10:43)

Music as Empowerment and Escape (12:18–13:30)

• Female Empowerment: Ana connects with Gloria’s experience, highlighting how music can provide both freedom and catharsis for women with heavy responsibilities.
  • Ana: “There is something about being a woman in this country, being a Latina in this country... music is an escape. Absolutely. And your music specifically has been that for many young women here.” (12:18)
• Intent to Uplift: Gloria speaks to the psychological healing power of her music—empowering listeners, communicating emotions, and granting permission to feel.
  • Gloria: “It's always been important through my music, still using the psychology to empower and to make people feel positive about themselves, maybe give them words to communicate emotions... or, you know, maybe just catharsis like it was for me, let people cry.” (12:44)

Reflections and Advice to Her Younger Self (13:38–14:32)

• Living in the Moment: Gloria shares the advice she'd give her younger self:
  • Gloria: “Girl, chill out. You know, nothing is as important as you think it is... I tell my daughter this all the time...be in the moment. Because you don't know if you're going to get that moment again. There's such an exchange that happens with the audience and the performer on that stage.” (13:38)

Gloria as Mentor & Feminist Icon (19:01–22:31)

• Mentorship: Ana recounts how her own friend, singer Leslie Grace Martinez, benefited from Gloria’s mentorship. Leslie describes Gloria as the “queen, all caps...so warm...trailblazed the crossover...remains so humble and grounded.”
• Feminist Support: Gloria credits her husband Emilio as a supportive feminist, vital for navigating the challenges of a male-dominated industry.
  • Gloria: “I'm married to probably the biggest feminist that I know...our family is number one...your identity has to be real with or without the fame, with or without the attention.” (20:42)
• Honoring Pioneers: Gloria recognizes other Latin music pioneers that came before her—Desi Arnaz, Tito Puente, Carlos Santana, and José Feliciano—for paving the way and credits them as her own inspirations.

Musical Highlights & Notable Moments

• “Abriendo Puertas” (23:35–24:52): The song’s theme of “opening doors and closing wounds” serves as a metaphor for Gloria’s legacy.
• Felix’s Favorite Song Breakdown (24:52–26:24): Felix highlights the Afro-Cuban roots subtly woven into “Don’t Want to Lose You”, explaining how the “Afro-Cuban Roomba” rhythm is integral but invisible to untrained ears.
  • Felix: “It's the DNA that makes it so very special.”
• The Story of ‘Conga’ (27:07–29:40): Gloria shares the origin of “Conga”, inspired by a medley of traditional Cuban rhythms, and recounts the moment they realized its universal appeal—despite language barriers—when Dutch audiences responded enthusiastically.
  • Gloria: “Emilio says, ‘Let’s play the medley of congas.’ I go, ‘But they don’t speak Spanish.’ He goes, ‘They don’t speak English either. Doesn’t matter.’” (27:07)
  • Gloria: “So we would like to take it back to the way it was born. All right. And we hope you love this baby. Thank you for that. It was all your idea. And look, look where we are. Look 50 years later, baby. Let's do this.” (27:07)

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Notable Quotes

• On Gloria’s Ubiquity and Influence
  • Ana: “Like, growing up Mexican American in California did not make me, you know, outside of the purview of Gloria Estefan, which is unique, I think, because Miami and California, they don't always talk. Mexicans and Cubans don't always talk. But Gloria Estefan talked to everyone. Her music talked to everyone.” (05:46)
• On Coping Through Music
  • Gloria: “Music was always my escape. I could go to my room and lock the door and just sing and cry because I wanted to be strong for my mom.” (09:10)
• On Female Empowerment and Mentorship
  • Leslie Grace (quoted by Ana): “She’s the queen, all caps...and has truly trailblazed the crossover, crisscross artist way for all of my generations of artists. And she remains so humble and grounded.” (19:53)
  • Gloria: “I'm married to probably the biggest feminist that I know...having my husband tell me and motivate me and say, hey, you can do this, you can do this.” (20:42)
• On Her Legacy and Honors
  • Gloria: “We just feel blessed, Emilio and I, that we were able to make a little more room. But for me, I used to watch Desi Arnaz singing conga on tv, playing his conga drum and singing in Spanish and talking in Spanish. I never thought, oh, no, I can't do this. I saw his example.” (22:32)
• On the Creation of “Conga”
  • Gloria: “This next song was born of a medley of Cuban Santiago congas...We were playing in Utrecht in Holland and we ran out of material...So Emilio says, ‘Let's play the, you know, the medley of congas.’...We did the song there, and those Dutch people went insane. They loved it.” (27:07)

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Timestamps for Major Segments

• [05:04] — Discussion: Gloria’s presence in U.S. Latin music and as a cultural connector
• [08:44] — Interview: Gloria reflects on her early life, family, and music as escape
• [10:43] — “Raíces” and the album’s autobiographical importance
• [12:18] — Music as empowerment for women, Gloria’s intent to uplift
• [13:38] — Gloria’s advice to her younger self
• [19:53] — Gloria’s mentorship, Leslie Grace’s words
• [20:42] — Navigating the industry, marriage as equality
• [22:32] — Honoring the previous generation of Latin music icons
• [24:52] — Felix breaks down the Afro-Cuban roots in "Don’t Want to Lose You"
• [27:07] — Gloria tells the origin story of “Conga”

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Final Thoughts

This episode provides an intimate, multilayered look at Gloria Estefan’s craft, the personal stories behind her biggest hits, her role as a mentor and industry trailblazer, and the unique fusion of tradition and innovation at the heart of her enduring legacy. The warmth, humor, and insight from both hosts and guest make this a must-listen episode for fans and newcomers alike.

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For more music discovery and artist stories, check out future episodes of All Songs Considered and Alt.Latino.

Transcript

[A]

This message comes From NPR sponsor 1Password. Secure access to your online world, from emails to banking, so you can protect what matters most with 1Password. For a free two week trial, go to 1Password.com NPR.

[B]

From NPR Music, this is All Latino. I'm Felix Contreras.

[C]

And I'm Ana Maria Sayer. Let the chisme begin.

[B]

Ana, this week the chisme is that you are on the president of Chile's Instagram. What's up with that?

[C]

I mean, there's a good reason. It has to do with what we do here. Felix. I we for El Taini Latin Music Month this year brought this Chilean children's show called Trentos. I think you either really know it or you super don't. It's a children's TV show that's been really impactful in Chile, across Latin America. I think I knew the show would blow up. I didn't know I'd make it on the president's Instagram.

[B]

Saying it blew up is kind of an understatement.

[C]

I've been looking at a lot of the metrics since it came out yesterday. We're talking right now on a Tuesday. This came out yesterday, Monday, October 6th. And it isn't the fastest growing time desk of all time. Billie Eilish and Sabrina Carpenter hit 2.5 million in a day. This hit 2 million. But I will say it is probably arguably one of the most beloved universally. It's something that is being talked about in pretty much every major news outlet across Latin America. I'm getting emails and texts from reporters across the two continents as well as in Germany, different parts of Europe.

[B]

Makes sense though, because that show we're hearing from older people who are nostalgic, younger people who remind them of their home. There's so many different reactions. Very basically, why did you choose this act?

[C]

It's one of those shows that kind of preserves this period of nostalgia for a lot of people in Latin America. Like it said, it started in Chile and it's a huge deal baseline for any Chilean cultural product to be exported. It's not something that easily happens. Art from Chile does not easily leave the country. And it made its way first to Mexico, then to other parts of Latin America. So it was always something of great Chilean pride and ultimately of Latin American pride. It's one of those things that if you grew up with it, a part of your heart lives with this show. To see this performance is something that takes you directly back to your childhood. I mean, a thing that I've been receiving which has never happened to me, including with the Bad Bunny. Tiny desk is message after message. Minute after minute of people saying this brought me back to days mornings sitting on the couch with my family. It reminded me of my dad, who I just lost, who loved this show. I think it was universally beloved, generationally beloved. It was one of the first TV shows that looked as children as not needing simply dumbed down children's content, but being able to hold conversations about social issues in the world and the way that it should look. And so I think it's something that's always been a source of real pride as valuable art. It just never made its way to the United States. This is what their team tells me is the first time, not only the first time they've ever played in the United States, but for them, they've been describing it internally as like playing Tiny desk was like winning an Oscar. It was like getting the most supreme achievement moment. And I think it's felt as a universal acknowledgement of the value of some of the most beloved Latin American art.

[B]

Well, as you mentioned, we're recording this. It's only day two. I'm sure there's gonna be more reaction. We'll talk about that in a future episode. But this week we're here to talk about a musician who has had a major impact here in the United States and whose voice we all know and love.

[C]

Rhythm is gonna get you.

[D]

Rhythm is gonna get you. Prism is gon get you.

[C]

The rhythm is going to get you.

[B]

Tonight we had a chance to sit down to talk with Gloria Stefan. The legendary Gloria Stephan, right after her tiny desk.

[C]

To clarify, the legendary. Not the other one.

[B]

Not the other one.

[C]

The iconic, not the Gloria Stefan who lives next door to you, who just with your tia all day long. We love that Gloria. She's great. But we're talking about the iconic, amazing, prolific singer, songwriter, Broadway star, subject extraordinaire, creator of an entire wave of Latin sound in the United States.

[B]

Yes, that Gloria Estefan.

[C]

At very long last, Felix, we finally got Gloria Estefan to come in the building. Play a tiny desk and it's not out yet. You're just gonna have to be checking for it on YouTube. But we are gonna play you some of our conversation with her and we're.

[B]

Gonna break it up with a little bit of music. But first I wanna hear from you, given that you're on the younger side, like, what is your impression of Gloria and the Miami Sound Machine? Gloria Ann Emilio Estefan, Miami Sound Machine. What is your, like, your earliest impression? And then now that you Know a little bit more about the music business. Where do you place her?

[C]

Yeah, I guess there are two eras of Gloria discovery for me, because the first being, I came into the world and Gloria was already an establishment.

[B]

Sure.

[C]

Like, there was no version of Latin sound, Spanish language sound in this country that Gloria wasn't a part of. So I think initially it was just hearing her all the time, everywhere. I mean, it's. How could you not hear Gloria? Conga rhythm is going to get you these songs that are literally institutions of not only Latin sound in this country, but really Latin American identity. Like growing up Mexican American in California did not make me, you know, outside of the purview of Gloria Estefan, which is unique, I think, because Miami and California, they don't always talk. Mexicans and Cubans don't always talk. But Gloria Estefan talked to everyone. Her music talked to everyone. So that was the first experience with her. The second being, yeah, obviously, as I learned and understood a lot more about the music business at large, the Latin music business, the Latin pop world specifically, I began to understand just how instrumental, both visibly and behind the scenes, she was. I mean, she really was that person in the ears and in the. In the boardrooms, not only with artists, but with their teams, with label heads, kind of conducting and guiding and being that voice to steer new artists from Latin America into the United States. And so that's when I really began to understand just how prolific she is, really, as more than just an artist, but a business person, as a. As a cultural icon, as. As a fighter in a lot of ways.

[B]

And we talked about this on an earlier podcast. Because of that, I was nervous. I was nervous to interview her.

[C]

Name the people you've been. Rita Moreno. Rita Carlos Santana.

[B]

Santana, first time. And this one, because of all the things you just said, because of all of the things that she has contributed. She and Emilio and the people around them have contributed to the music business. It's almost like you and I, we understand it too much. It's formidable. Right. It's so big. And yet here she is. She's this wonderful, friendly, warm, bright. Could have been one of.

[C]

She's hard. Yeah, She's.

[B]

Could have been one of my cousins. Right. I mean, like, just like that kind of familiarity. It was very nice.

[C]

She actually does remind me of my Thea a little bit in that she's a little frightening. She's not afraid to say what she wants. No, not in the slightest.

[B]

One of the things that I've been doing lately with artists that have been in the Business for a long time because I interviewed some jazz musicians recently from their first album, like in their late 70s. I want to know who they were when they put out their first record. And they were making a splash in a big way. So that's how I started the conversation with Gloria. And then she shared a little bit of insight about her own personal life, of what was going on with her at the time, her and her family and her dad, her mom, her grandmother, even. That really helped me understand even more the things that she's accomplished. Let's check it out.

[D]

You know, it's funny because I've never really had fears and anxieties. For some reason. When I was born, I felt very old. So when I joined the band, I kind of started getting younger. I had a lot of responsibilities. My dad was ill, I had to take care of him. So I had the weight of the world on my shoulders. When I was a teenager, my dad had come back from NAMM and he had age and orange poisoning, and he went downhill fast. So my mom needed all my help, and I was going to school and being with my dad, taking care of him and my younger sister. But music was always my escape. I could go to my room and lock the door and just sing and cry because I wanted to be strong for my mom. So when I met Emilio and I joined the band, it was kind of like the first fun that I was really able to have. And thanks to my grandma, who told me, ignore your mother. Just do what I tell you. You need to do this, you're meant to do this. And I joined just for fun. And it just became more and more fun. And then we fell in love, so it was even more fun. And not that I was shy, because I've always been very sociable person, but I don't like being the center of attention, so. So I truly had to get used to being the frontman in the band. I had to push myself out of my comfort zone. I took dance lessons, modern dance, to kind of. And I was totally out of my comfort zone there. And I took public speaking because I knew that it would help me just kind of deal with that situation. And I was able to do it slowly, you know, before we hit it big. I had a good 10 years to be able to perform for all kinds of audiences. And I like to learn and I like to get better at things. But yeah, I was really quiet and love to study, love music always, you know.

[B]

Ana. Her new album was called Raices, and the title track tells a story of that young Woman who cried in her room and then followed her abuelita's advice to follow her heart.

[C]

Felix. I remember from initial conversations with her team about why now they were ready. She came ready. We're gonna do this tiny desk. And they said this record that she's just released, it's her magnum opus record. This is the review, the look back, the homage to where she comes from, where she's been, this whole story. This is the autobiography moment for her. And so the title track, of course, had to be the inception of her story.

[B]

That was the title track from her most recent album, Races. And let's go back to the interview to the point where, Anna, after we had spent all this time arranging these questions and in what order we were going to ask them, went right out of the window.

[C]

I'm already going rogue here, Felix. But what you just said really resonated with me. I think there is something about being a woman in this country, being a Latina in this country, where I. I feel that completely like, growing up and realizing, oh, I can have fun, because I have actually less responsibility than I did. And the music is an escape. Absolutely. And your music specifically has been that for many young women here.

[D]

And that makes me very happy because, you know, I sing since I talk, so it came with me. It's not something that I learned or that I picked up later on. The first things that I did as a baby was to sing. And the only way my mom could get a diaper on me was to sing to me. And I would just melt and relax. So I know that that came with me. And it's always been important through my music, still using the psychology to empower and to make people feel positive about themselves, maybe give them words to communicate emotions to someone that they may not necessarily know how to talk to or, you know, maybe just catharsis like it was for me, let people cry. And so that. That means a lot to me that you would say that. Thank you.

[B]

So with that kind of hindsight of where you are now, looking back, who you were then, what kind of advice would you give to Gloria back then?

[D]

Oh, my God. I would tell her, girl, chill out. You know, nothing is as important as you think it is. Cause I'm pretty much a perfectionist. Not for everything, but if I want the music to be good, I want the music to, you know, really do what I intend with it. And a lot of times, just to get through the moments, I would kind of have to look over people's heads and not let it overwhelm me. And if I had to do it again, and I tell my daughter this all the time, I go be in the moment. Because you don't know if you're going to get that moment again. And there's such an exchange that happens with the audience and the performer on that stage. It's a communication that goes both ways. So I would definitely say, you know, just relax, relax and let people see what music does for you, how you feel about music. And I had to learn that a little bit the hard way.

[C]

Felix there's so much in that answer that could be dissected to me as what has made Gloria who she is. It's like this intense commitment to what she does and the value of what she does and being a woman and a hard worker and staying committed to the craft, but also recognizing the value of. We've mentioned this a lot but like dis rutan no la vida in the moment where you are. And I think that that's what people gravitate towards about her music. There's a craving for that, that she was able to like put onto paper, put into speakers and represent for so many Latinos I think, in this country who were desiring that feeling and that type of an approach to life from whatever home country they came from.

[B]

With that in mind and knowing what you know about her, do you have a favorite cut putting you on the spot? Because you don't look at the scripts I write.

[C]

I think very much in theme with what we were just talking about. I have to pick OI Today. My favorite is oi.

[B]

Okay, we're going to take a quick break and we're going to come right back to this amazing interview, this very fun interview with Gloria Estefan.

[A]

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[E]

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[A]

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[B]

And we're in the middle of an interview with Gloria Estefan. And again, you threw me a curve ball even though we had stuff set up. Because you actually are very good friends with someone who benefited from Gloria's mentorship.

[C]

By far. One of the things that I've always admired from afar, Felix, is that Gloria has been this mentor to a lot of Latin singers. And it just so happens that I got to kind of experience it firsthand in the sense that, yeah, my friend has benefited from Gloria's mentorship. And by extension, I mean, this is a friend who's like a sister to me. I have very much benefited in a way from that, that lineage or that trail of, like you said, she's so kind, she's so good, she conducts herself in this way. I feel like I'm a recipient of that through, through Leslie. So it's a very personal, beautiful thing that I've been able to witness.

[B]

And I love this part of the interview. Let's check it out.

[C]

You have been a mentor to many young Latina singers in this country. And I, I didn't have the words, so I reached out. We have a friend in common. I told you. Leslie Grace Martinez is like one of my dearest friends in the world and has been mentored by you, loved by you, inspired by you. So I asked her, I was like, what would you say about Gloria as a mentor? And she said, she's the queen, all caps. You are going to love her. The most beautiful thing about her is that she's so warm. She's journeyed through so much in the course of her career. And has truly trailblazed the crossover, crisscross artist way for all of my generations of artists. And she remains so humble and grounded. Sometimes when you hear about women that broke through so many barriers in a male dominated industry, that warmth and humility can be framed as a contradiction to the assertiveness and willpower necessary to break through. But not with Mrs. Stefan. She's all love, and she's the realest of the world.

[D]

Oh, what's she doing Calling me Mrs. Stefan? No, you know what? That's so beautiful, and I love her and she's so incredible, so proud of everything she's done. But I have to say that I'm married to probably the biggest feminist that I know. And that was really helpful because he was there to kind of navigate those waters. That for a woman in the business is so tough, you know, because you're, you know, you're prey to, you know, a lot of people that are in power. So having my husband tell me and motivate me and say, hey, you can do this, you can do this. And he was always right. Even though I booked him and he said, oh, I don't want to do this. He's usually right. So we've made a great team, and that's why it's not really a contradiction. I mean, and we've both stayed very grounded. Our family is number one, our priorities. Maybe what I went through in my life and what he went through as a young man really teaches you what is really worthwhile and valuable in this world. And all the other stuff is just, you know, fun and icing on the cake. But your identity has to be real with or without the fame, with or without the attention.

[C]

And the respect is so clearly there between you guys that narration can see it.

[D]

But I have a lot of respect. These amazing Latin women that have broken molds because even now with the urban music, women were not welcome in that world. And now you see people like Carol G and Natina, Tasha and Fariana really taking it to a whole other level and feeling free to be who they are. That means a lot. Shakira, needless to say, JLo, so many amazing artists that. That continue to push those boundaries and open more doors, push it open a little more.

[B]

What have you to thank for that?

[D]

I don't know. But look, it's honestly, I mean, I know people say that, and we just feel blessed, Emilio and I, that we were able to make a little more room. But for me, I used to watch Desi Arnaz singing conga on tv, playing his conga drum and singing in Spanish and talking in Spanish. I never thought, oh, no, I can't do this. I saw his example. People like Cacho and Tito Puente and Carlos Santana. Jose Feliciano never changed his name, even though they tried to get him to do that. And to me, they were like, yeah, of course. We have space, we have room. So I thank them as well.

[B]

We talk about those pioneers all the time, and it's just really kind of special to hear her include herself along with the other people that we talk about all the time. It was. It was. That was. That part was moving for me.

[C]

It's not every day you get to sit down with one of the people who made. Who helped really make so much of what we do possible.

[B]

It was a big deal.

[C]

So, speaking of opening doors for others, we want to play a little bit of a song from 1995 that Be Gloria released. The track is called Abriendo Puertas and it has the lyrics. Y vamos habiendo puertas Y vamos serrano heridas Opening doors and closing wounds. Okay, Felix, I'm also intrigued to hear what your favorite Gloria song is.

[B]

I had to think about it, but it didn't take long because I want to go back to one of the early, early hits. I think it's from her first solo album. It's called don't want to lose you, and I want to talk you through it. Because there's a little bit of Afro Cuban music that they sneak in there, and you wouldn't know it unless you know it. Check it out.

[D]

Sometimes it's hard.

[B]

Hear that? So what that is, it's a. Check it. A part on the Afro Cuban Roomba. And I'm gonna hum the part that goes along with it.

[A]

Watch.

[B]

It mixes in. It's like it's part of this Afro Cuban roomba that's played with the ch that they sneak in this pop song, and it goes through the whole song. And if you listen when the drums come in, it sounds like a regular pop song, but unless you know, you don't know. But that's. To me, that's the brilliance of the. Of what they did, is there's another song where they were playing a checkere instead of playing the hi hat on the drum set. For musicians, it's. It's the minutia, it's the DNA that makes it so very special. So this is the song that I've always, always liked, because I can hear that Afro Cuban Roomba. Check it.

[A]

You.

[D]

Now we're going to get through somehow. Don't want to lose you now.

[A]

Forever.

[C]

Okay, Felix, so we've been hearing a lot about this tiny desk. It feels a little we can only.

[B]

Play a little bit of it. And we want to play this section where she introduces a song that everybody knows, conga, and maybe not everybody knows the story behind it.

[C]

So let's hear the story first, because I love this story that she told at the desk. And then we'll hear the song.

[D]

This next song was born of a medley of Cuban Santiago congas that were some over 100 years old, some a couple hundred. And we were playing an Utrecht in Holland and we ran out of material. So Emilio says, let's play the, you know, the medley of congas. I goes, but they don't speak Spanish. He goes, they don't speak English either. Doesn't matter. So I go, true. We did the song there, and those Dutch people went insane. They loved it. They loved it so much that, that at three in the morning, when we were waiting for our ride to take us back to a hotel, I said to my drummer, you know, we need to write a song that talks about what this rhythm is, but we need to do it in English so that the vast majority of the world can understand it, this time with the original percussion in those Cuban congas. So you've heard the song a gazillion times. So we would like to take it back to the way it was born. All right. And we hope you love this baby. Thank you for that. It was all your idea. And look, look where we are. Look 50 years later, baby. Let's do this. Everybody gather round now. Let your body feel the heat. Do you feel it? Don't you worry if you can't dance. Let the music move your feet. It's the rhythm of the island. And like sugar cane so sweet. If you want to do the conga, you've got to listen to the beat. You thought it was fast before. Feel the fire of desire as you dance a night away.

[B]

You have been listening to Old Latino from NPR Music. Our audio editor is Noah Caldwell.

[C]

Saray Muhammad is the executive producer of NPR Music.

[B]

I'm Felix Contreras.

[C]

And I'm Ana Maria Sayer. Thanks for listening.

[D]

Want some music? It's your system. There's no way you're going to stop.

[A]

Any longer.

[D]

Feel the rhythm and the music getting stronger.

[E]

Don't.

[D]

But if you try to let go. Yeah.

[A]

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[E]

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[A]

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