Gillespie landed the first recording date with a major label for the new music, with the RCA Bluebird label recording Dizzy Gillespie And his Orchestra on February 22, 1946 ("52nd Street Theme, A Night in Tunisia, Ol' Man Rebop, Anthropology"). Later Afro-Cuban styled recordings for Bluebird in collaboration with Cuban "rumberos" Chano Pozo and Sabu Martinez, and arrangers Gil Fuller and George Russell ("Manteca, Cubana Be, Cubana Bop, Guarache Guaro") would be among his most popular, giving rise to the Latin dance music craze of the late 1940s and early 1950s. Gillespie, with his extroverted personality and humor, glasses, lip beard and beret, would become the most visible symbol of the new music and new jazz culture in popular consciousness. That of course slighted the contributions of others with whom he had developed the music over the preceding years. His show style, influenced by black vaudeville circuit entertainers, seemed like a throwback to some and offended some purists ("too much grinning" according to Miles Davis), but it was laced with a subversive sense of humor that gave a glimpse of attitudes on racial matters that black musicians had previously kept away from the public at large. Before the Civil Rights Movement, Gillespie was confronting the racial divide by lampooning it. The intellectual subculture that surrounded bebop made it something of a sociological movement as well as a musical one.