WEBVTT

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<v Speaker 1>From Futuro Media. It's let You Know Usa. I'm Matriao Hoosam.

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<v Speaker 1>For this episode of Let You Know Usay, We're going

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<v Speaker 1>to take a revisiting trip to one of our how

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<v Speaker 1>I Made It segments, this one. Eric last year in

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<v Speaker 1>twenty twenty, enjoyed nicknamed the Cuban James Brown for his

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<v Speaker 1>intoxicating mix of Latin groove, African rhythms, and American funk.

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<v Speaker 1>Thirty year old singer and songwriter Eric Rodriguez is building

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<v Speaker 1>a new stage for Cuban music. After a year as

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<v Speaker 1>a solo artist, he and a band called Los Boys

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<v Speaker 1>merged in twenty eighteen to become Seema Funk. It's a

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<v Speaker 1>name Rodriguez had already been using on stage, and just

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<v Speaker 1>one year later that band was named one of Billboard's

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<v Speaker 1>Top ten Latin Artists to Watch. Deriving from Cima ronez,

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<v Speaker 1>the Spanish word for Africans who escape slavery in Cuba,

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<v Speaker 1>Sima Funk's sound strives to embody not only the island's roots,

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<v Speaker 1>but also its branches.

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<v Speaker 2>Mainly, I may funk music with Africuba and music also

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<v Speaker 2>is a crazy mix of both music styles. The Cima

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<v Speaker 2>rong for me is these kind of elements in the

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<v Speaker 2>Quievan kilture that is a big part of the Africuba

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<v Speaker 2>movement and funk well, because funk is something similar for me.

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<v Speaker 2>I also learned from the United States, so I mixed

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<v Speaker 2>the bows name and I use that for calling myself.

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<v Speaker 1>Hailing from Cuba's countryside, a city called Binarde, Rio Rodriguez

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<v Speaker 1>grew up listening to his mom singing Michael Jackson at home,

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<v Speaker 1>dancing to the sounds of Sarsa at family parties, and

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<v Speaker 1>popping in Lionel Ritchie and Stevie Wonder cassettes while driving

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<v Speaker 1>around and singing with his deal. Nevertheless, Rodriguez was not

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<v Speaker 1>always planning on shaking up Cuba's music scene.

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<v Speaker 2>My grandmother, she came from more deep in the forest.

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<v Speaker 2>She out from there with my grandfather and they built

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<v Speaker 2>a house a little bit more close to the town.

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<v Speaker 2>When my grandmother did that, she was telling like, every

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<v Speaker 2>one of my sons have to go to university and

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<v Speaker 2>every one of my son have to be professional. So

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<v Speaker 2>my family is like a lot of my uncles, my mom.

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<v Speaker 2>Everybody is like doing a series engineer. My mom is psychologist,

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<v Speaker 2>and everybody get into this, you know, that build a

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<v Speaker 2>career and be somebody.

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<v Speaker 1>Growing up in a family of engineers, doctors, and psychologists,

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<v Speaker 1>it was only expected that he too would take a

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<v Speaker 1>more traditional path, and he did, at least for a while.

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<v Speaker 1>Two years into medical school, Rodriguez dropped out to go

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<v Speaker 1>into music, something he had never studied or professionally pursued before.

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<v Speaker 1>In twenty seventeen, while performing solo as Siema Funk, Rodriguez

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<v Speaker 1>released his debut album, entitled De Rapia Therapy in Spanish.

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<v Speaker 1>Fitting The first track Byvoid or I'm Leaving became his

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<v Speaker 1>first hit.

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<v Speaker 2>I didn't know nothing about Sema phone. Assumption that he

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<v Speaker 2>was called my name at that time was that was

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<v Speaker 2>my artist and name? Everybody calling me like that.

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<v Speaker 1>In this How I Made It segment where we highlight

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<v Speaker 1>Latino creators and their work, Eddie Rodriguez talks about discovering

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<v Speaker 1>his identity, keeping it intimate with his audience, and how

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<v Speaker 1>the pandemic has given him a chance to bar el gimpo,

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<v Speaker 1>to spend some time with his family and reflect on

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<v Speaker 1>universal themes in music.

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<v Speaker 2>At the beginning, like when I started to do music,

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<v Speaker 2>I never I never was, you know, focusing my identity.

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<v Speaker 2>But at some point some guy came to me and

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<v Speaker 2>he asked me where you come from and and he said, no,

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<v Speaker 2>I came from Penanderia. But he told me no, but

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<v Speaker 2>where where is your your genealogic tree? But the way

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<v Speaker 2>they say where you come from? Because I know that

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<v Speaker 2>I came from Canaria, my my wife came from all

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<v Speaker 2>the side. But you don't know that. I say no,

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<v Speaker 2>I don't know. I never, I never, I never think

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<v Speaker 2>about that. So I start to think about that. I

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<v Speaker 2>started to figure out to get some information about it,

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<v Speaker 2>and I started to discover all this background of of

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<v Speaker 2>Africa that came to Cuba, and I started to discover

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<v Speaker 2>that you got this kind of group, and you got

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<v Speaker 2>this this appreciation for some kind of music specifically because

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<v Speaker 2>because you got this this in your in your genes.

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<v Speaker 2>Everybody in my family they dance and they listen to

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<v Speaker 2>a lot of music. Nobody did music in my family professionally.

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<v Speaker 2>But all the time there was hearing music singing, my

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<v Speaker 2>mom singing, and all the time she was singing like

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<v Speaker 2>songs of I don't know, Marona, Michael Jackson, many many

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<v Speaker 2>bands from mostly US and Cuba.

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<v Speaker 3>So all my childhood was in the music environment. All

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<v Speaker 3>the time. It was music around all the time.

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<v Speaker 2>We get vambam, all the saltside, the timber idols from

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<v Speaker 2>Cuba and Helawanda. All this man was all the time

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<v Speaker 2>in the house playing for someone from TV, from the cassette,

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<v Speaker 2>from whatever. My uncle came with the music equipment and

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<v Speaker 2>this was all the time. I remember my family, my

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<v Speaker 2>uncles and my mom and all these people, the Sunday

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<v Speaker 2>dancing Southside in the in the living room, or my

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<v Speaker 2>uncle Alexis that he studying the school with Jamaican people

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<v Speaker 2>was dancing preay dance.

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<v Speaker 3>That was a big movement of that. You know murders,

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<v Speaker 3>I'll protect your song. And I remember all all that.

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<v Speaker 3>So I grew up with this.

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<v Speaker 2>I get inside the car because my uncle get Moscow

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<v Speaker 2>is Russian all car and he gave me all the

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<v Speaker 2>cassette and I was putting the music in the car

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<v Speaker 2>every night for here some music of that, and I

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<v Speaker 2>started to learn even the lyrics. I didn't know what

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<v Speaker 2>the lyrics was meaning, but I started to sing over

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<v Speaker 2>the track.

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<v Speaker 3>I seen that.

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<v Speaker 2>That was the first experience for me with the with

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<v Speaker 2>the singing and stuff. Then I hear James Brown in

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<v Speaker 2>a movie and singing I feel good. I didn't hear

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<v Speaker 2>this song before.

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<v Speaker 3>Never. Never. When I heard this song, was like, oh,

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<v Speaker 3>this is this is.

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<v Speaker 2>A perfect song. This is a perfect song and a

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<v Speaker 2>perfect group. I don't understand how somebody could do that.

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<v Speaker 2>And I start to share more information. I just get

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<v Speaker 2>to know about the funk and about all the rufflins,

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<v Speaker 2>and I get obsessed with that, and I started to

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<v Speaker 2>study in the school. I passed the first two years

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<v Speaker 2>doing the career. But at some point I came for

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<v Speaker 2>the first time in Lavana and I just hear bands

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<v Speaker 2>and I see the crowd, and I see all this

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<v Speaker 2>movement of music. So I backed took and I said

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<v Speaker 2>to my family, Okay, I'm gonna I want to stop

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<v Speaker 2>to study medicine. I'm gonna I'm gonna go to the

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<v Speaker 2>capital to live and try to figure out what I'm

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<v Speaker 2>gonna do with the music because I don't I don't

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<v Speaker 2>like no more what I'm doing. They oh, they are

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<v Speaker 2>like a super lovely family. So all the time it's like,

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<v Speaker 2>what you decide, We're gonna support you. We're going to

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<v Speaker 2>try to support you. So at the moment that I

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<v Speaker 2>decided to stop medicine, there was okay, you, you better

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<v Speaker 2>stop because we prefer that you do all the stuff

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<v Speaker 2>when you are good. You know it's good for you

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<v Speaker 2>and it's good for the people also because the patient

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<v Speaker 2>can be in danger. And after that, I start to

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<v Speaker 2>to move and figure out the way to get inside

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<v Speaker 2>the media of the music here in Nevada.

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<v Speaker 3>Because I didn't know nobody from music here.

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<v Speaker 2>So I start to build my own in the in

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<v Speaker 2>the capital and build the band. Was a long process.

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<v Speaker 2>I built my band into so I was a native,

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<v Speaker 2>but seeing my phone, I came within my phone Frience

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<v Speaker 2>twenty seventeen. When I was producing the album, I just

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<v Speaker 2>at the first moment, the idea was to make a

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<v Speaker 2>band from colors only from James Brown, Stevie.

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<v Speaker 3>And Michael Jackson.

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<v Speaker 2>But in some point we just start to do whatever

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<v Speaker 2>we want and we start to mix all the Kuban

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<v Speaker 2>classic with funk and was a little bit craising and

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<v Speaker 2>was pretty good. Was pretty good. So I decided to

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<v Speaker 2>start to produce my own music. It was an experimental process,

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<v Speaker 2>but it was really organic and was really honest for me.

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<v Speaker 2>I didn't know how to do music by myself. I

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<v Speaker 2>just buy a laptop and a couple of speakers and

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<v Speaker 2>a small interface, and all the stuff that I do

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<v Speaker 2>is that I couple start with the voice, and then

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<v Speaker 2>I sent to some musicians and say, okay, I one

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<v Speaker 2>day you record this. So that's what I'm doing. That's

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<v Speaker 2>what I was doing it that time, and at the

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<v Speaker 2>end it work. At the end of work, I finished

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<v Speaker 2>the first two track, three tracks. I make the video

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<v Speaker 2>clip and the people start to get crazy, especially hearing cube,

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<v Speaker 2>and then I finished the whole album is Therapy.

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<v Speaker 3>The title of my first album is Therapy.

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<v Speaker 2>But friends tell me like, yeah, man, you're gonna do anything,

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<v Speaker 2>but when you put this son in the street, the

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<v Speaker 2>people are gonna love this sun and and what was

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<v Speaker 2>like this? I put the son in the street and

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<v Speaker 2>was like a four or five months without without get

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<v Speaker 2>some answer for the people.

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<v Speaker 3>I say, okay, it's normal. I don't know.

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<v Speaker 2>Maybe I have to do all the song and try

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<v Speaker 2>to put other sons. So I put other most song

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<v Speaker 2>in the in the street, pont A plot and I

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<v Speaker 2>started to work pont A Plato and Pasciente. That was

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<v Speaker 2>the first one that I would also. But in some

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<v Speaker 2>point my wages explode, makes a heat explosion in the

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<v Speaker 2>whole country and everybody was with the track.

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<v Speaker 3>Crazy with the track. Everywhere, everywhere that you go, everywhere

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<v Speaker 3>that I.

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<v Speaker 2>Was moving, everybody was talking to me about this track

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<v Speaker 2>and what.

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<v Speaker 3>Was really big. It was really big. Actually it's still big.

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<v Speaker 2>Every time that a party finished year, every time that

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<v Speaker 2>every time that is a party, they put the track

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<v Speaker 2>a couple of times.

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<v Speaker 3>It was crazy.

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<v Speaker 2>This is a dream that I was having for many

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<v Speaker 2>years because as I tell you, I have been listening

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<v Speaker 2>to all this music from a shiahuo. I made this

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<v Speaker 2>collaboration with Omara Shuho that I own and Panjama was.

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<v Speaker 3>Was a gift.

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<v Speaker 2>Was a gift because they are the professors, they are

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<v Speaker 2>the teachers. They know they know what is the Kiven

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<v Speaker 2>culture going to the world and doing the best in

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<v Speaker 2>the world. You know, they know they know that because

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<v Speaker 2>they already did, when Arista already did.

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<v Speaker 3>The process was a class.

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<v Speaker 2>Panjama came to the studio and he was talking with

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<v Speaker 2>us for one hour about his experience in New Orleans

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<v Speaker 2>and Box, his experience with the with the English language

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<v Speaker 2>in the music in the groove, when you sing, when

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<v Speaker 2>you sing in Spanish in the funky groove, what you

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<v Speaker 2>got to do with the with the worlds and where

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<v Speaker 2>is there situation for put the world better in the

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<v Speaker 2>in the groove. And he was explaining all that that

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<v Speaker 2>I never hear that before in anywhere, and it wasn't

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<v Speaker 2>like a big learning process, but that is really important here.

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<v Speaker 2>The people here eat almost every day. Literally, it is

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<v Speaker 2>something that you could you put some water and you

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<v Speaker 2>put some meat, you put some potatoes and some stuff

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<v Speaker 2>and you make like a It's like a soup, but

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<v Speaker 2>it's more powerful. You tell the podaca here when you

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<v Speaker 2>are sick and when you want to eat something like

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<v Speaker 2>a like a with substance with personality, when you want

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<v Speaker 2>to eat some soup with personality, and the choruses like

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<v Speaker 2>a femo.

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<v Speaker 3>Now have I love it? It's like a we go,

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<v Speaker 3>we go. Now we're going to dance tie. You know.

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<v Speaker 2>It's talking about trying to figure out the way to

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<v Speaker 2>enjoy what you got because at the end is that

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<v Speaker 2>and for that it's gonna start like the scenes of life.

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<v Speaker 2>You have to take it slow, relax and avoid the excess,

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<v Speaker 2>but try to stay alive. You have people around you

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<v Speaker 2>that you don't see often that you do talk to

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<v Speaker 2>them often, you know, trying to take the time for

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<v Speaker 2>that because you now realize that life is super super.

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<v Speaker 3>Fragile, you know, and in some moments, in any time,

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<v Speaker 3>you can.

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<v Speaker 2>Lose what you like, what you love, and you didn't

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<v Speaker 2>realize that always was there. So take the time to

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<v Speaker 2>join and share with the people that you love and

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<v Speaker 2>talk to them and put the fear away, you know,

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<v Speaker 2>try to put the fear away. Everything is going to

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<v Speaker 2>be okay. Fear is what is the real problem.

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<v Speaker 1>So that was Siema Funk's singer and songwriter Eric Rodriguez.

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<v Speaker 1>The Afro Cuban bands new EPRA is out now. So

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<v Speaker 1>so this episode was produced by Sophia Sanchez and Gini

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<v Speaker 1>Montalbo Lucar. It was edited by Andrea Lopes Crusado and

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<v Speaker 1>mixed by Julia Caruso. The Latino USA team includes Marta Martinez,

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<v Speaker 1>Mike Sargent, Julieta Martinelli, Victoria Strada, Patrisa subran Alejandra sa Rinaldo,

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<v Speaker 1>Leanos Junior, and Julia Rocha without from Raulrees. Our editorial

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<v Speaker 1>director is Jujo Carborella. Our suprising senior engineer is Stuffing

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<v Speaker 1>the Bow. Our assistant senior engineer is Julia Caruso. Additional

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<v Speaker 1>engineering by Lea Shaw with help from Gabriela Bias. Our

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<v Speaker 1>digital editor is Luis Luna. Our New York Women's Foundation

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<v Speaker 1>at Night fellow is Maria Slinka. Our intern is Oscarvellon.

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<v Speaker 1>Our theme music was composed by Zanga Rubinos. If you

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<v Speaker 1>like the music you heard on this episode, stop by

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<v Speaker 1>Latinousa dot org and check out our weekly Spotify playlist.

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<v Speaker 1>I'm your host and executive producer marrigeha Posa. Join us

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<v Speaker 1>again on our next episode, and in the meantime, I'll

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<v Speaker 1>see you on all of our social media yaou.

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<v Speaker 4>Latino Usa is made possible in part by the Ford Foundation,

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<v Speaker 4>working with visionaries on the front lines of social change worldwide,

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<v Speaker 4>the Heising Simons Foundation Unlocking knowledge, opportunity and possibilities more

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<v Speaker 4>at hsfoundation dot org, and the John D. And Catherine T.

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<v Speaker 5>MacArthur Foundation, and carved out his place in Cuba's musical

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<v Speaker 5>scene with his hot band Sima funk.

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<v Speaker 1>I don't know why I put hot. I'm Maria no Josa.

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<v Speaker 1>Next time on Latino Usa, Part two of our award

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<v Speaker 1>winning series The Moving Border, we travel next to Tapachula,

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<v Speaker 1>the new frontier for asylum seekers at the border between

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<v Speaker 1>Mexico and Guatemala. To US bestossed a persona.

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<v Speaker 3>No boocket I moved ok La plaza.

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<v Speaker 1>That's next time on Latino USA,