Celso Piña at the Monumento a la Revolución, Mexico City, June 9, 2017.
Photograph: Tania Victoria / Secretaría de Cultura Ciudad de México.
Original photograph and attribution · CC BY-SA 2.0
The original photograph is used with an AI-assisted silhouette mask, a crop and a monochrome dither treatment. The subject’s photographic pixels have not been regenerated. This adaptation is provided under the same CC BY-SA 2.0 license. No endorsement is implied.
Download the original · Download the mask
The photograph documents a separate 2017 performance; it is not a photograph of the Copacabana recording.The small images retain their original source files and use a browser-applied monochrome treatment.
Individual photographer credits and reproduction permissions for these four archival assets have not been confirmed. They are included here for editorial preview.
Acerina playing timbales with his orchestra in a Mexico City dance club, identified as 1970 in the source caption. Photograph: Sergio V. Rodriguez.
Original and attribution · CC BY-SA 4.0 · Original image
Displayed with a monochrome dither treatment. This adaptation is available under CC BY-SA 4.0. No endorsement is implied. This is an archival illustration, not a photograph of the program recording.
These photographs illustrate the places, not the program recording locations. Images are resized, cropped and displayed with a green duotone and dither treatment. Each adaptation is shared under its source license; no endorsement is implied.
Joe Arroyo: Colores Mari. Source photograph. Carlos Vives: b r e n t, retouched by Resize. Source photograph. Both photographs are licensed CC BY 2.0. Displayed as portrait crops with green duotone and dithering. No endorsement is implied. These images do not document the episode recordings.
Hugo Ortiz Ron / Asamblea Nacional del Ecuador, April 6, 2011. Source portrait · CC BY-SA 2.0. Source crop by -jem-. Displayed with green duotone and dithering; adaptation shared under CC BY-SA 2.0. No endorsement is implied.
Portrait published in Paulina Tamayo’s official biography. Photographer and reproduction license are not stated on that page. Included for local editorial preview; publication permission remains unconfirmed. Displayed with an AI-assisted silhouette mask and monochrome dithering; original photographic pixels retained. Source image.
Montecruz Foto, YAAM Berlin, July 21, 2017. Source photograph · CC BY-SA 2.0. Resized, border cropped and monochrome dither applied. Adaptation shared under the same license; no endorsement implied. This performance is separate from the episode recording.
Belouu, via Banco de la República’s cultural encyclopedia. The source description specifies CC BY-SA 3.0; its template references version 2.5. Displayed with a warm monochrome raster; adaptation shared under CC BY-SA 3.0. No endorsement implied.
b r e n t, September 16, 2005. Source photograph · CC BY 2.0. Cropped to retain Vives and the accordionist; warm monochrome raster applied. No endorsement implied.
Image published in Paulina Tamayo’s official Sinfónico concert gallery. Original image. Photographer and reproduction license were not stated in the retrieved source; permission has not been independently verified. Cropped and displayed with a warm monochrome raster. These performance images are illustrative and do not identify the episode recording sessions.
“Luis Vargas, bachatero.” Original photograph supplied by Michael Jones, Afropop Worldwide, for the October 8, 2026 edition of APWW #388. A photographer credit was not included with the supplied image; no open-license claim is made here.
The original photographic pixels are retained. An AI-assisted silhouette mask removes the background, followed by the same browser-applied monochrome treatment as the other chapters. The accompanying newspaper collage and Santo Domingo stamp are decorative illustrations, not archival documents.
Supplied photograph · Program notes and sources
Santo Domingo Blues film poster: publicity image from Glass Eye Pix’s official film page. Displayed separately from the radio episode artwork.
Performance photograph published with Hoy’s coverage of “Mi trayectoria” at the Gran Arena del Cibao. The publisher provides a 2519 × 1370 source image. Photographer and reuse license are not identified in the retrieved page; the image is credited to its publishing source, not claimed as openly licensed. This later concert image does not depict the APWW #388 recording session.
The header photograph is cropped and horizontally mirrored for the composition, with an AI-assisted background-removal mask and browser-applied monochrome treatment. The episode itself retains the different Luis Vargas portrait supplied by Afropop Worldwide.
Each chapter opens with a credited source photograph printed as a tritone: black, the program’s own ink and a cream tint. The photographs are resized and responsively cropped, without silhouette masks. Concert images are visual companions and are not presented as photographs of the radio recording sessions.
Photograph by Tania Victoria / Secretaría de Cultura Ciudad de México, June 9, 2017. Source photograph · CC BY-SA 2.0. Resized and responsively cropped for the guide; the photographic adaptation is offered under the same license. This is a different exposure from the opening portrait.
A musician in a straw hat with his guitar, credited to the Afropop Worldwide program archive, as on the La Bamba episode page. The letterbox bars are cropped away; the photograph is resized, responsively cropped and printed as a tritone in black, indigo and cream. It is a visual companion, not documentation of the program recording.
El Indio Valencia, from the official Carlos Vives press gallery linked in the artist’s June 2026 Tour al Sol report. Original press photographs: DSCF6962.JPG (audience) and DSCF7190.JPG (mobile stage companion), both 7728 × 5152. The scene shows the Puerto Rico concert audience; it does not depict the archival radio recording. Resized and responsively cropped. Provided in the artist’s press-photo download; no open Creative Commons license is claimed.
Generated editorial instrument cutout, guided by Jdvillalobos’s public-domain reference photograph. This is an illustration, not an archival photograph. Its role in the Colombian vallenato trio follows Colombia’s Ministry of Culture safeguarding plan.
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