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Speaker 1: Tumbao is the scene that the piano male like king

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Speaker 1: ton kin, con king, conking, king, con thing, drinking, thinking, king, conting.

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Speaker 1: Thing that is essential in the in the quiva music,

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Speaker 1: the tumba. But when you put the tumbao in the

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Speaker 1: bat of funk, it's work perfectly. The two danceable, unhappy

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Speaker 1: moods of both music you work together perfectly because when

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Speaker 1: you put like atting, turning, chum thing, chum thinging thing cutting.

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Speaker 2: From media, it's let you know us, say Maria Josa today,

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Speaker 2: from med school students to musicians. How Eric Rodriguez transformed

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Speaker 2: himself into cinema punk and carved a place for his

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Speaker 2: band in Cuba's rich musical scene. Nicknamed the Cuban James

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Speaker 2: Brown for his intoxicating mix of Latin groove, African rhythms,

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Speaker 2: and American funk, thirty year old singer and songwriter Eric

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Speaker 2: Rodriguez is building a new stage for Cuban music. After

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Speaker 2: a year as a solo artist, he and a band

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Speaker 2: called Ros Boys merged in twenty eighteen to become Sema Funk.

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Speaker 2: It's a name Rodriguez had already been using on stage,

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Speaker 2: and just one year later that band was named one

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Speaker 2: of Billboard's Top ten Latin Artists to Watch. Deriving from

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Speaker 2: sima ronez, the Spanish word for Africans who escape slavery

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Speaker 2: in Cuba, Sema Funk's sound strives to embody not only

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Speaker 2: the island's roots but also its branches.

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Speaker 1: Mainly, I may funk music with Africuba and music. It

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Speaker 1: also is a crazy mix of bowls, musical style see

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Speaker 1: my room for me is these kind of elements in

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Speaker 1: the quievan kilture that is a big part of the

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Speaker 1: Africuba movement and funk well, because funk is something similar

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Speaker 1: for me, also from the United States. So I mixed

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Speaker 1: the vows name and I use that for calling myself.

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Speaker 2: Hailing from Cuba's countryside, a city called Binard del Rio,

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Speaker 2: Rodriguez grew up listening to his mom singing Michael Jackson

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Speaker 2: at home, dancing to the sounds of Sarsa at family parties,

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Speaker 2: and popping in Lionel, Richie and Stevie Wonder cassettes while

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Speaker 2: driving around and singing with his deal. Nevertheless, Rodriguez was

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Speaker 2: not always planning on shaking up Cuba's music scene.

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Speaker 1: My grandmother, she came from more dieping the forest. She

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Speaker 1: out from there with my grandfather and they built a

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Speaker 1: house a little bit more close to the town. When

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Speaker 1: my grandmother did that, she was telling like, every one

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Speaker 1: of my sons have to go to university and every

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Speaker 1: one of my son have to be professional. So family

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Speaker 1: is like a lot of my uncles, my mom, everybody

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Speaker 1: is like doing a series engineer, my mommy's psychologists and

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Speaker 1: everybody get into this, you know that build a career

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Speaker 1: on be somebody.

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Speaker 2: Growing up in a family of engineers, doctors and psychologists,

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Speaker 2: it was only expected that he too would take a

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Speaker 2: more traditional path, and he did, at least for a while.

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Speaker 2: Two years into medical school, Rodriguez dropped out to go

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Speaker 2: into music, something he had never studied or professionally pursued before.

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Speaker 2: In twenty seventeen, while performing solo as Sema Funk, Rodriguez

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Speaker 2: released his debut album, entitled De Rapia Therapy in Spanish. Fittingly,

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Speaker 2: the first track by Void or I'm Leaving, became his

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Speaker 2: first hit.

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Speaker 1: Bad Gasa didn't know nothing about semaphone or something that

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Speaker 1: he was called. My name at that time was myoy

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Speaker 1: Pam Casa. That was my artist in name. Everybody calling

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Speaker 1: me like that.

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Speaker 2: In this How I Made It segment where we highlight

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Speaker 2: Latino creators and their work. Eddie Rodriguez talks about discovering

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Speaker 2: his identity, keeping it intimate with his audience, and how

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Speaker 2: the pandemic has given him a chance to Baran and Gimbo,

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Speaker 2: to spend some time with his family and reflect on

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Speaker 2: universal themes in music.

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Speaker 1: At the beginning, like when I started to do music,

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Speaker 1: I never I never was, you know, focusing my identity.

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Speaker 1: But at some point some guy came to me and

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Speaker 1: he asked me where do you come from? And he said, no,

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Speaker 1: I came from Pinanderia. But he told me no, but

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Speaker 1: where where is your you genealogic tree? But the way

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Speaker 1: they say where you come from? Because I know that

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Speaker 1: I came from Canaria, my wife came from all the side.

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Speaker 1: But you don't know that. I say, no, I don't know.

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Speaker 1: I never, I never, I never think about that. So

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Speaker 1: I start to think about that. I started to to

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Speaker 1: figure out to get some information about it. And I

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Speaker 1: started to discover and all this background of of Africa

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Speaker 1: that came to Cuba, and I started to discover that

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Speaker 1: you got this kind of group and you got this

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Speaker 1: this appreciation for some kind of music specifically, because because

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Speaker 1: you got this this in your in your genes. Everybody

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Speaker 1: in my family they dance and they listen to a

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Speaker 1: lot of music. Nobody did music in my family professionally,

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Speaker 1: but all the time there was hearing music singing, my

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Speaker 1: mom singing, and all the time she was singing like

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Speaker 1: songs of I don't know, Madona, Michael Jackson, many many

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Speaker 1: bands from mostly US and Cuba. So all my childhood

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Speaker 1: was in a music environment all the time. It was

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Speaker 1: music around all the time. We get VAM band, all

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Speaker 1: the the salsa, the timber idols from Cuba and Helanda.

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Speaker 1: All this man was all the time in the house

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Speaker 1: playing for someone from TV, from the cassette, from whatever.

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Speaker 1: My uncle came with the music equipment and this was

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Speaker 1: all the time. I remember my family, my uncles and

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Speaker 1: my mom and all these people, the suddenly dancing salsa

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Speaker 1: in the in the living room. Or my uncle alexis

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Speaker 1: that he studying the school with Jamaican people was dancing

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Speaker 1: preak dance. That was a big movement of that, you know,

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Speaker 1: murders Protu and I remember all all that. So I

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Speaker 1: grew up with this. I get inside the car because

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Speaker 1: my uncle gets Moscow is Russian all car and he

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Speaker 1: gave me all the cassette and I was putting the

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Speaker 1: music in the car every night for here some music

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Speaker 1: of that, and I started to learn even the lyrics.

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Speaker 1: I didn't know what the lyric was meaning, but I

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Speaker 1: started to sing over the tracking. That That was the

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Speaker 1: first experience for me with the with the singing and stuff.

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Speaker 1: Then I hear James Brown in a movie and singing,

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Speaker 1: I feel good. I didn't hear this song before. Never. Never.

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Speaker 1: When I hear this song, was like, oh, this is

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Speaker 1: this is a perfect song. This is a perfect song

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Speaker 1: and a perfect group. I don't understand how somebody could

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Speaker 1: do that. And I start to share more information. I

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Speaker 1: just get to know about the funk and about all

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Speaker 1: the movements, and I get obsessed with that, and I

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Speaker 1: started to study in the school. I passed the first

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Speaker 1: two years doing the career. But at some point I

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Speaker 1: came for the first time in Lavana and I just

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Speaker 1: hear bands and I see the crowd and I see

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Speaker 1: all this movement of music. So I backed too, and

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Speaker 1: I say to my family, Okay, I'm gonna I want

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Speaker 1: to start to study medicine. I'm gonna I'm gonna go

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Speaker 1: to the Capital to live and try to figure out

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Speaker 1: what I'm gonna do with the music because I don't

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Speaker 1: I don't like no more what I'm doing. They oh,

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Speaker 1: they are like a super lovely family. So all the

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Speaker 1: time it's like, I get what you decide. We're gonna

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Speaker 1: support you. We're gonna try to support you. So at

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Speaker 1: the moment that I decided to stop medicine, there was okay,

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Speaker 1: you better stop, because we prefer that you do all

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Speaker 1: the stuff when you are good. You know it's good

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Speaker 1: for you and it's good for the people also because

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Speaker 1: the patient can be in danger. And after that I

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Speaker 1: started to move and figure out the way to get

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Speaker 1: inside the media of the music here in Nevana, because

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Speaker 1: I didn't know nobody from music here. So I started

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Speaker 1: to build my own in the in the Capital and

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Speaker 1: build the band. Was a loan process. I built my

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Speaker 1: band in two thousand nineteen, but seeing my phone, I

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Speaker 1: came within my phone front twenty seventeen when I was

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Speaker 1: producing the album. Actually, at the first moment, the idea

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Speaker 1: was to make a band from colors only from James Brown,

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Speaker 1: Stevie and Michael Jackson. But in some point, we just

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Speaker 1: start to do whatever we want and we start to

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Speaker 1: mix all the Cuban classic with funk, and was a

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Speaker 1: little bit crazy and was pretty good. Was pretty good.

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Speaker 1: So I decided to start to produce my own music.

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Speaker 1: It was an experimental process, but it was really organic

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Speaker 1: and was really honest for me. I didn't know how

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Speaker 1: to do music by myself. I just buy a laptop

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Speaker 1: and a couple of speakers and a small interface, and

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Speaker 1: all the stuff that I do is that I couple

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Speaker 1: start with the voice, and then I sent to some

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Speaker 1: musicians and say, okay, I one day, you record this.

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Speaker 1: So that's what I'm doing. That's what I was doing

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Speaker 1: at the time, and at the end of it works.

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Speaker 1: At the end, it work. I finished the first two track,

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Speaker 1: three tracks, I make the video clip and the people

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Speaker 1: start to get crazy, especially hearing Cuba, and then I

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Speaker 1: finished the whole album. It's Therapy. The title of my

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Speaker 1: first album is Therapy. But friends tell me like, yeah, man,

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Speaker 1: you're gonna do anything, but when you put this on

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Speaker 1: in the street, the people are gonna love this sun

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Speaker 1: and and was like this. I put the son in

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Speaker 1: the street and was like a four or five months

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Speaker 1: without without get some answer for the people. I say, okay,

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Speaker 1: it's it's normal. I don't know. Maybe I have to

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Speaker 1: do other son and try to put other sons. So

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Speaker 1: I put other most Son in the in the street

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Speaker 1: Ponte plot and I started to work pont A Plato

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Speaker 1: and Pasciente. That was the first one that I would also.

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Speaker 1: But in some point my way explode makes a heat

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Speaker 1: explosion in the whole country, and everybody was with the track,

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Speaker 1: crazy with the track everywhere everywhere that you go, everywhere

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Speaker 1: that I was moving, everybody was talking to me about

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Speaker 1: this track and was was really big. It was really big.

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Speaker 1: Actually it's still big. Every time that a party finished year,

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Speaker 1: every time that every time that is a party, they

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Speaker 1: put the track a couple of times. It was crazy.

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Speaker 1: This is a dream that I was having from for

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Speaker 1: many years because as I tell you, I have been

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Speaker 1: listening to all this music from my shiahoo. I made

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Speaker 1: this collaboration with Omara Shucho that I own and Panjama

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Speaker 1: was was a gift. Was a gift because they are

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Speaker 1: the professors, They are the teachers. They know, they know

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Speaker 1: what is the kid and culture going to the world

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Speaker 1: and doing the best in the world. You know, they

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Speaker 1: know they know that because they already did when Arista

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Speaker 1: already did. The process was a class. Panjama came to

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Speaker 1: the studio and he was talking with us for one

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Speaker 1: hour about his experience in New Orleans and about his

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Speaker 1: experience with the with the English language in the music

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Speaker 1: in the group, when you sing, when you sing in

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Speaker 1: Spanish in the funky group, what you got to do

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Speaker 1: with the with the worlds and what is their situation

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Speaker 1: for put the world better in the in the group,

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Speaker 1: And he was explaining all that that I never heard

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Speaker 1: that before in anywhere, and it wasn't like a big

199
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Speaker 1: learning process, but that is really important here. The people

200
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Speaker 1: here eat but that almost every day. Literally, it is

201
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Speaker 1: something that you could you put some water and you

202
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Speaker 1: put some meat, you put some potatoes and some stuff

203
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Speaker 1: and you make like a it's like a soup that

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Speaker 1: it's more powerful. You take the podaca here when you

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Speaker 1: are sick and when you want to eat something like

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Speaker 1: a like a with substance, with personality, when you want

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Speaker 1: to eat some soup with personality, and the choruses like

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Speaker 1: a ham now have I love? It's like we go,

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Speaker 1: we go, Now we're gonna dance tie you. It's talking

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Speaker 1: about trying to figure out the way to enjoy what

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Speaker 1: you got because at the n is that and for

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Speaker 1: that the sunner start. Like the scenes of life, you

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Speaker 1: have to take it slow, relax and avoid the excess,

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Speaker 1: but try to stay live. You have people around you

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Speaker 1: that you don't see often, that you don't talk to

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Speaker 1: them often, you know, trying to take the time for

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Speaker 1: that because you now realize that life is super super fragile,

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Speaker 1: you know, and in some moments, in any time, you

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Speaker 1: can lose what you lie, what you love, and you

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Speaker 1: didn't realize that always was there. So take the time

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Speaker 1: to join and share with the people that you love

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Speaker 1: and talk to them and put the fear away, you know,

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Speaker 1: try to put the fear away. Everything is going to

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Speaker 1: be okay. Fear is what is the real problem.

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Speaker 2: That was seem a funk singer and songwriter Eric Rodriguez

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Speaker 2: the Afro Cuban bands new EPRA is.

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Speaker 1: Out now.

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Speaker 2: So So So So so So. This episode was produced

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Speaker 2: by Sophia Sanchez and Gini Montalbon, edited by Andrea Lopez Gruzsado.

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Speaker 2: The Latino USA team includes Niel Macias, Julieta Martinelli, Alisa

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Speaker 2: escarce Alejandra Selesad and Rinaldo Leagnos Junior, with help from

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Speaker 2: Marta Martinez and Raoul Beres. Our engineers are Stephanie Lebaud,

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Speaker 2: Julia Caruso and Lia Shaw, with help from Alicia ba YouTube.

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Speaker 2: Our digital editors Louis Luna Our New York Women's Foundation

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Speaker 2: Ignite fellow is Julia Rochak. Our interns ur himel A

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Speaker 2: del Serro, Emil Sekiros and Gabriel La Bayez. Our theme

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Speaker 2: music was composed by Zeno Robinos. If you like the

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Speaker 2: music you heard on this episode, stop by Latinousa dot

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Speaker 2: org and check out our weekly Spotify playlist. I'm your

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Speaker 2: host and executive producer Mario Josa. Join us again on

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Speaker 2: our next episode, and in the meantime, look for us

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Speaker 2: on all of your social media. Hi Los Meo astat Approxima.

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Speaker 3: Jao Latino USA is made possible in part by the

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Speaker 3: Heising Simons Foundation unlocking knowledge, opportunity and possibilities more at

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Speaker 3: hsfoundation dot org, the wind Coat Foundation and the Ford Foundation,

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Speaker 3: working with visionaries on the front lines of social change worldwide, and.

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Speaker 2: Carved out his place in Cuba's musical scene with his

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Speaker 2: hot band Sima Funk. I don't know why I put hot.

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Speaker 2: I'm Maria no Josa. Next time on Latino USA, a

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Speaker 2: conversation with historian Kelly Lytel Hernandez about her fight to

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Speaker 2: liberate an archive of police records from the LAPD and

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Speaker 2: how she's going to use that same data to argue

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Speaker 2: for reparations. Don't tell me because that is gonna drive

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Speaker 2: me harder than ever. That's next time.

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Speaker 1: I'll let the New USA m h m hm