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

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Speaker 1: For this episode of Let You Know Usay, We're going

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Speaker 1: to take a revisiting trip to one of our how

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Speaker 1: I Made It segments, this one. Eric last year in

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Speaker 1: twenty twenty, enjoyed nicknamed the Cuban James Brown for his

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Speaker 1: intoxicating mix of Latin groove, African rhythms, and American funk.

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Speaker 1: Thirty year old singer and songwriter Eric Rodriguez is building

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Speaker 1: a new stage for Cuban music. After a year as

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Speaker 1: a solo artist, he and a band called Los Boys

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Speaker 1: merged in twenty eighteen to become Seema Funk. It's a

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Speaker 1: name Rodriguez had already been using on stage, and just

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Speaker 1: one year later that band was named one of Billboard's

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Speaker 1: Top ten Latin Artists to Watch. Deriving from Cima ronez,

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Speaker 1: the Spanish word for Africans who escape slavery in Cuba,

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

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Speaker 1: but also its branches.

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Speaker 2: Mainly, I may funk music with Africuba and music also

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Speaker 2: is a crazy mix of both music styles. The Cima

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Speaker 2: rong for me is these kind of elements in the

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Speaker 2: Quievan kilture that is a big part of the Africuba

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Speaker 2: movement and funk well, because funk is something similar for me.

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Speaker 2: I also learned from the United States, so I mixed

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Speaker 2: the bows name and I use that for calling myself.

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Speaker 1: Hailing from Cuba's countryside, a city called Binarde, Rio Rodriguez

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Speaker 1: grew up listening to his mom singing Michael Jackson at home,

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Speaker 1: dancing to the sounds of Sarsa at family parties, and

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Speaker 1: popping in Lionel Ritchie and Stevie Wonder cassettes while driving

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Speaker 1: around and singing with his deal. Nevertheless, Rodriguez was not

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Speaker 1: always planning on shaking up Cuba's music scene.

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Speaker 2: My grandmother, she came from more deep in the forest.

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Speaker 2: She out from there with my grandfather and they built

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Speaker 2: a house a little bit more close to the town.

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Speaker 2: When my grandmother did that, she was telling like, every

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Speaker 2: one of my sons have to go to university and

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Speaker 2: every one of my son have to be professional. So

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Speaker 2: my family is like a lot of my uncles, my mom.

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Speaker 2: Everybody is like doing a series engineer. My mom is psychologist,

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Speaker 2: and everybody get into this, you know, that build a

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Speaker 2: career and be somebody.

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Speaker 1: Growing up in a family of engineers, doctors, and psychologists,

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Speaker 1: it was only expected that he too would take a

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Speaker 1: more traditional path, and he did, at least for a while.

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Speaker 1: Two years into medical school, Rodriguez dropped out to go

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Speaker 1: into music, something he had never studied or professionally pursued before.

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Speaker 1: In twenty seventeen, while performing solo as Siema Funk, Rodriguez

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Speaker 1: released his debut album, entitled De Rapia Therapy in Spanish.

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Speaker 1: Fitting The first track Byvoid or I'm Leaving became his

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Speaker 1: first hit.

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Speaker 2: I didn't know nothing about Sema phone. Assumption that he

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Speaker 2: was called my name at that time was that was

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Speaker 2: my artist and name? Everybody calling me like that.

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Speaker 1: In this How I Made It segment where we highlight

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Speaker 1: Latino creators and their work, Eddie Rodriguez talks about discovering

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Speaker 1: his identity, keeping it intimate with his audience, and how

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Speaker 1: the pandemic has given him a chance to bar el gimpo,

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Speaker 1: to spend some time with his family and reflect on

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Speaker 1: universal themes in music.

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Speaker 2: At the beginning, like when I started to do music,

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Speaker 2: I never I never was, you know, focusing my identity.

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Speaker 2: But at some point some guy came to me and

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Speaker 2: he asked me where you come from and and he said, no,

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Speaker 2: I came from Penanderia. But he told me no, but

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Speaker 2: where where is your your genealogic tree? But the way

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Speaker 2: they say where you come from? Because I know that

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Speaker 2: I came from Canaria, my my wife came from all

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

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Speaker 2: I don't know. I never, I never, I never think

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Speaker 2: about that. So I start to think about that. I

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Speaker 2: started to figure out to get some information about it,

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Speaker 2: and I started to discover all this background of of

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Speaker 2: Africa that came to Cuba, and I started to discover

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Speaker 2: that you got this kind of group, and you got

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Speaker 2: this this appreciation for some kind of music specifically because

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Speaker 2: because you got this this in your in your genes.

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Speaker 2: Everybody in my family they dance and they listen to

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Speaker 2: a lot of music. Nobody did music in my family professionally.

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Speaker 2: But all the time there was hearing music singing, my

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Speaker 2: mom singing, and all the time she was singing like

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Speaker 2: songs of I don't know, Marona, Michael Jackson, many many

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Speaker 2: bands from mostly US and Cuba.

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Speaker 3: So all my childhood was in the music environment. All

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Speaker 3: the time. It was music around all the time.

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Speaker 2: We get vambam, all the saltside, the timber idols from

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Speaker 2: Cuba and Helawanda. All this man was all the time

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Speaker 2: in the house playing for someone from TV, from the cassette,

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Speaker 2: from whatever. My uncle came with the music equipment and

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Speaker 2: this was all the time. I remember my family, my

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Speaker 2: uncles and my mom and all these people, the Sunday

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Speaker 2: dancing Southside in the in the living room, or my

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Speaker 2: uncle Alexis that he studying the school with Jamaican people

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Speaker 2: was dancing preay dance.

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Speaker 3: That was a big movement of that. You know murders,

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Speaker 3: I'll protect your song. And I remember all all that.

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Speaker 3: So I grew up with this.

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Speaker 2: I get inside the car because my uncle get Moscow

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Speaker 2: is Russian all car and he gave me all the

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Speaker 2: cassette and I was putting the music in the car

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Speaker 2: every night for here some music of that, and I

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Speaker 2: started to learn even the lyrics. I didn't know what

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Speaker 2: the lyrics was meaning, but I started to sing over

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Speaker 2: the track.

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Speaker 3: I seen that.

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Speaker 2: That was the first experience for me with the with

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Speaker 2: the singing and stuff. Then I hear James Brown in

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Speaker 2: a movie and singing I feel good. I didn't hear

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Speaker 2: this song before.

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Speaker 3: Never. Never. When I heard this song, was like, oh,

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Speaker 3: this is this is.

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Speaker 2: A perfect song. This is a perfect song and a

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Speaker 2: perfect group. I don't understand how somebody could do that.

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Speaker 2: And I start to share more information. I just get

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Speaker 2: to know about the funk and about all the rufflins,

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Speaker 2: and I get obsessed with that, and I started to

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Speaker 2: study in the school. I passed the first two years

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Speaker 2: doing the career. But at some point I came for

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Speaker 2: the first time in Lavana and I just hear bands

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Speaker 2: and I see the crowd, and I see all this

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Speaker 2: movement of music. So I backed took and I said

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Speaker 2: to my family, Okay, I'm gonna I want to stop

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Speaker 2: to study medicine. I'm gonna I'm gonna go to the

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Speaker 2: capital to live and try to figure out what I'm

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Speaker 2: gonna do with the music because I don't I don't

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

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

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Speaker 2: what you decide, We're gonna support you. We're going to

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Speaker 2: try to support you. So at the moment that I

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Speaker 2: decided to stop medicine, there was okay, you, you better

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Speaker 2: stop because we prefer that you do all the stuff

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Speaker 2: when you are good. You know it's good for you

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Speaker 2: and it's good for the people also because the patient

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Speaker 2: can be in danger. And after that, I start to

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Speaker 2: to move and figure out the way to get inside

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Speaker 2: the media of the music here in Nevada.

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Speaker 3: Because I didn't know nobody from music here.

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Speaker 2: So I start to build my own in the in

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Speaker 2: the capital and build the band. Was a long process.

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Speaker 2: I built my band into so I was a native,

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Speaker 2: but seeing my phone, I came within my phone Frience

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Speaker 2: twenty seventeen. When I was producing the album, I just

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Speaker 2: at the first moment, the idea was to make a

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Speaker 2: band from colors only from James Brown, Stevie.

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Speaker 3: And Michael Jackson.

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Speaker 2: But in some point we just start to do whatever

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Speaker 2: we want and we start to mix all the Kuban

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Speaker 2: classic with funk and was a little bit craising and

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Speaker 2: was pretty good. Was pretty good. So I decided to

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Speaker 2: start to produce my own music. It was an experimental process,

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Speaker 2: but it was really organic and was really honest for me.

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Speaker 2: I didn't know how to do music by myself. I

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Speaker 2: just buy a laptop and a couple of speakers and

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Speaker 2: a small interface, and all the stuff that I do

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Speaker 2: is that I couple start with the voice, and then

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Speaker 2: I sent to some musicians and say, okay, I one

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

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Speaker 2: what I was doing it that time, and at the

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Speaker 2: end it work. At the end of work, I finished

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Speaker 2: the first two track, three tracks. I make the video

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Speaker 2: clip and the people start to get crazy, especially hearing cube,

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Speaker 2: and then I finished the whole album is Therapy.

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Speaker 3: The title of my first album is Therapy.

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

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Speaker 2: but when you put this son in the street, the

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Speaker 2: people are gonna love this sun and and what was

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Speaker 2: like this? I put the son in the street and

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Speaker 2: was like a four or five months without without get

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Speaker 2: some answer for the people.

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Speaker 3: I say, okay, it's normal. I don't know.

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Speaker 2: Maybe I have to do all the song and try

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Speaker 2: to put other sons. So I put other most song

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Speaker 2: in the in the street, pont A plot and I

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Speaker 2: started to work pont A Plato and Pasciente. That was

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Speaker 2: the first one that I would also. But in some

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Speaker 2: point my wages explode, makes a heat explosion in the

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Speaker 2: whole country and everybody was with the track.

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Speaker 3: Crazy with the track. Everywhere, everywhere that you go, everywhere

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Speaker 3: that I.

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Speaker 2: Was moving, everybody was talking to me about this track

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Speaker 2: and what.

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Speaker 3: Was really big. It was really big. Actually it's still big.

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Speaker 2: Every time that a party finished year, every time that

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Speaker 2: every time that is a party, they put the track

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Speaker 2: a couple of times.

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Speaker 3: It was crazy.

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Speaker 2: This is a dream that I was having for many

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Speaker 2: years because as I tell you, I have been listening

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Speaker 2: to all this music from a shiahuo. I made this

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Speaker 2: collaboration with Omara Shuho that I own and Panjama was.

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Speaker 3: Was a gift.

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Speaker 2: Was a gift because they are the professors, they are

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Speaker 2: the teachers. They know they know what is the Kiven

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Speaker 2: culture going to the world and doing the best in

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Speaker 2: the world. You know, they know they know that because

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Speaker 2: they already did, when Arista already did.

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Speaker 3: The process was a class.

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Speaker 2: Panjama came to the studio and he was talking with

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Speaker 2: us for one hour about his experience in New Orleans

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Speaker 2: and Box, his experience with the with the English language

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Speaker 2: in the music in the groove, when you sing, when

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Speaker 2: you sing in Spanish in the funky groove, what you

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Speaker 2: got to do with the with the worlds and where

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Speaker 2: is there situation for put the world better in the

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Speaker 2: in the groove. And he was explaining all that that

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Speaker 2: I never hear that before in anywhere, and it wasn't

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Speaker 2: like a big learning process, but that is really important here.

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Speaker 2: The people here eat almost every day. Literally, it is

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Speaker 2: something that you could you put some water and you

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Speaker 2: put some meat, you put some potatoes and some stuff

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Speaker 2: and you make like a It's like a soup, but

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Speaker 2: it's more powerful. You tell the podaca here when you

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Speaker 2: are sick and when you want to eat something like

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Speaker 2: a like a with substance with personality, when you want

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Speaker 2: to eat some soup with personality, and the choruses like

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Speaker 2: a femo.

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

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Speaker 3: we go. Now we're going to dance tie. You know.

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Speaker 2: It's talking about trying to figure out the way to

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Speaker 2: enjoy what you got because at the end is that

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

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Speaker 2: You have to take it slow, relax and avoid the excess,

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Speaker 2: but try to stay alive. You have people around you

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Speaker 2: that you don't see often that you do talk to

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Speaker 2: them often, you know, trying to take the time for

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Speaker 2: that because you now realize that life is super super.

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Speaker 3: Fragile, you know, and in some moments, in any time,

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Speaker 3: you can.

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Speaker 2: Lose what you like, what you love, and you didn't

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Speaker 2: realize that always was there. So take the time to

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Speaker 2: join and share with the people that you love and

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Speaker 2: talk to them and put the fear away, you know,

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Speaker 2: try to put the fear away. Everything is going to

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Speaker 2: be okay. Fear is what is the real problem.

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Speaker 1: So that was Siema Funk's singer and songwriter Eric Rodriguez.

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Speaker 1: The Afro Cuban bands new EPRA is out now. So

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Speaker 1: so this episode was produced by Sophia Sanchez and Gini

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Speaker 1: Montalbo Lucar. It was edited by Andrea Lopes Crusado and

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Speaker 1: mixed by Julia Caruso. The Latino USA team includes Marta Martinez,

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Speaker 1: Mike Sargent, Julieta Martinelli, Victoria Strada, Patrisa subran Alejandra sa Rinaldo,

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Speaker 1: Leanos Junior, and Julia Rocha without from Raulrees. Our editorial

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Speaker 1: director is Jujo Carborella. Our suprising senior engineer is Stuffing

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Speaker 1: the Bow. Our assistant senior engineer is Julia Caruso. Additional

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Speaker 1: engineering by Lea Shaw with help from Gabriela Bias. Our

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Speaker 1: digital editor is Luis Luna. Our New York Women's Foundation

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Speaker 1: at Night fellow is Maria Slinka. Our intern is Oscarvellon.

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Speaker 1: Our theme music was composed by Zanga Rubinos. If you

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Speaker 1: like the music you heard on this episode, stop by

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Speaker 1: Latinousa dot org and check out our weekly Spotify playlist.

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Speaker 1: I'm your host and executive producer marrigeha Posa. Join us

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Speaker 1: again on our next episode, and in the meantime, I'll

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Speaker 1: see you on all of our social media yaou.

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Speaker 4: Latino Usa is made possible in part by the Ford Foundation,

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Speaker 4: working with visionaries on the front lines of social change worldwide,

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Speaker 4: the Heising Simons Foundation Unlocking knowledge, opportunity and possibilities more

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Speaker 4: at hsfoundation dot org, and the John D. And Catherine T.

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Speaker 5: MacArthur Foundation, and carved out his place in Cuba's musical

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Speaker 5: scene with his hot band Sima funk.

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Speaker 1: I don't know why I put hot. I'm Maria no Josa.

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Speaker 1: Next time on Latino Usa, Part two of our award

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Speaker 1: winning series The Moving Border, we travel next to Tapachula,

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Speaker 1: the new frontier for asylum seekers at the border between

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Speaker 1: Mexico and Guatemala. To US bestossed a persona.

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Speaker 3: No boocket I moved ok La plaza.

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Speaker 1: That's next time on Latino USA,