Carlos Santana (Great Hispanic Heritage) by Louise Chipley Slavicek

By Louise Chipley Slavicek

Those riveting personalities each one accomplished excellence, yet even more than their person accomplishments is the confident Hispanic snapshot they jointly symbolize to the realm. pictures, illustrations, and energetic textual content inform the tales ot those interesting ancient figures. together with his targeted mix of blues, rock, and Afro-Cuban rhythms, Santana has saved himsslf obvious at the renowned song scene for greater than 30 years.

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32 After lingering in the cathedral a little longer, Carlos gathered his courage and set out for El Convoy. When he reached his old place of employment, the club manager was not encouraging. He knew that Josefina had recently moved to the United States and that Carlos was underage. If he hired Carlos, Josefina might send the police after him, the manager said. But when Carlos produced a letter of permission from his mother, the manager relented. ” he yelled to a glum-faced fellow who was strumming a guitar onstage.

If anyone could help him now, he thought, it was the dark-skinned Virgin Mother in whose honor the cathedral was named. The legend of the Virgin of Guadalupe goes back to 1531, a decade after Hernán Cortés and his army conquered the Aztec Empire. According to the story, one day an Indian peasant named Juan Diego was walking through a desolate area northwest of Mexico City. Suddenly, on the crest of a small hill, Diego saw a vision of a radiant woman with Indian features and a brown complexion. The woman spoke to Diego in his native language of Náhuatl, identifying herself as Mary, the Mother of the True God, Jesus Christ.

To pass the time, Carlos decided to take a tablet of mescaline, a potent psychedelic. He was confident that the drug would wear off by the time he had to perform. Ever since Stan Marcum had introduced him to the hippie culture of Haight-Ashbury in the mid-1960s, Carlos had been an enthusiastic user of hallucinogens. In those days, the young guitarist had an almost religious zeal for psychedelics, viewing them as a means of achieving greater self-knowledge and spiritual enlightenment: “I felt [the drugs] would make it more real and honest,” he revealed to Rolling Stone in 2000.

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