[MUSIC PLAYING]
BRETT PERLMUTTER: You may
want to unbutton a button.
You may want to
put on some shades.
Because it's time to [SPANISH].
[APPLAUSE]
[CIMAFUNK SINGING "BASTA"]
[APPLAUSE]
CIMAFUNK: Thank you.
Thank you for the invitation.
It's a pleasure be here.
Thank you for came.
[CIMAFUNK SINGING "PONTE PA' LO
 TUYO"]
[APPLAUSE]
CIMAFUNK: [SPEAKING SPANISH]
We are pulling all together
to see the people reaction.
They call, it call "La Papa."
[SPEAKING SPANISH]
"La Papa."
[SPANISH]
[CIMAFUNK SINGING "LA PAPA"]
CIMAFUNK: Thank you.
"La Papa."
Gracias.
BRETT PERLMUTTER: Can we do
another applause for Cimafunk?
An [SPANISH]?
Wow.
So my first question
is something everyone
is wondering in the room.
How do you move
your legs like that?
Have you always been
able to do that?
CIMAFUNK: No.
I don't know.
I don't know.
It just happened one day.
I asked myself if could be
nice if you can sing and dance,
so try and it work.
BRETT PERLMUTTER:
What day was that?
CIMAFUNK: I don't remember.
It was a long time ago.
BRETT PERLMUTTER:
So you were young?
CIMAFUNK: Yeah, I working in a
cruise ship for eighth months.
So it's like a show and stuff.
You have to make it show there.
So I start to say, OK, maybe
I can dance and sing also.
Could be nice for the show.
BRETT PERLMUTTER:
That's pretty good.
Well, tell us about
the name Cimafunk.
Where does it come from?
CIMAFUNK: Well, the name "Cima."
"Cima" is, it come
from the word cimarrón.
Cimarrón, I seen that in
English, it call my rooms.
Was a slave who escaped from
the house was the master
and start to in
the forest, hide.
In Cuba what we
call in cimarrón.
So I always fully identify with
that because for my family,
he was like a Nigerian guy who
came in the forest of Pinar del
Río.
And he was a slave,
also, and stuff.
So the history and the files
say that he was a slave
and he came from Nigeria.
So I figured out that and
I feel very identified
with his culture.
And also because
they are from Cuba.
[INAUDIBLE] through all
the rhythm, all the stuff.
Was the African people who
bring these to our country.
So I take "cima" from cimarrón
and funk for the music,
for the style, for the
visuality, for funk.
BRETT PERLMUTTER: Unbelievable.
So you have been compared
to the James Brown of Cuba.
CIMAFUNK: No, no, no.
This is not right.
It's too much, it's too much.
I'm just learning the styles.
This is too-- it's
too hard being that.
BRETT PERLMUTTER: I
mean, nevertheless you're
doing big things.
You were reviewed by
"New Yorker" magazine.
One reviewer called you, like,
a mix between Missy Elliott
and Cameo infused with a strong
dose of Caribbean flavor.
CIMAFUNK: That's crazy man.
BRETT PERLMUTTER: Are
these people nuts?
I mean, we just heard it.
CIMAFUNK: Yeah.
You know, everybody feels
the scene in their own way.
I don't know.
I'm just, I'm recycling
the music, the style.
I'm putting a little
bit on myself,
but I'm using the stuff
that they already done.
I'm love James Brown.
I'm love [INAUDIBLE].
And I have a lot of
reference from music
from the United States.
I really love all the old times.
And I'm, like, taking
this thing from there,
and I'm putting my stuff
with my Cuban thing.
And it is what is.
BRETT PERLMUTTER: So who are
your points of references?
Who are your musical influences?
CIMAFUNK: I hear a lot, since I
was a child, to Lionel Richie.
So my uncle give me a cassette
of Michael Jackson also,
the album "Invincible."
And after I started to
follow the music from US.
Ohio Players.
Funkadelic.
James Brown, of course.
Marvin Gaye.
Prince.
Sonny Boy.
A lot of all people.
All the [INAUDIBLE]
and also Sam & Dave.
And I'm from Cuba and all this.
And I get a huge
background from Cuba--
Benny Moré, Bola de
Nieve, Celia Cruz.
Everybody, everybody in Cuba.
It's a lot of the [INAUDIBLE].
It's a band were
I still working.
You have been, like,
t-shirt for many people.
And, like, this is
like many musicians.
And I listen
everyday someone new.
BRETT PERLMUTTER: So it's
truly Afro-Cuban funk?
CIMAFUNK: Yeah, it seems so.
It seems so.
Yeah, the people, when
the people ask you
for a style of music, I say
Afro-Cuban because I'm African
and Cuban and stuff and funk
because it's a mix of that.
But at the end, it's music.
It's groove, it's groove.
BRETT PERLMUTTER: Amazing.
So what-- we're here
in Google, so I'd
be remiss if I didn't talk
about the internet a little bit.
So in Cuba, we're witnessing an
amazing step change in access
to the internet.
Before there was this amount
of internet access in Cuba,
how did you share your music?
How did you distribute it?
CIMAFUNK: Before?
BRETT PERLMUTTER: Before.
CIMAFUNK: Well
before that, I wasn't
making a lot of campaign.
So I was more calm.
Before that it's a
behave in television,
in the TV and the radio.
But it was a little
bit more hard.
We have something called the
Paquete that is a platform
that the people use
for share music.
And you have a lot of
information, and you go
and you copy all
this information.
And the people have,
like, many houses
when they give you this
information to the town,
to the crowd.
And that's the most viable
way to share the information
before the internet.
And now also work super good.
But no, definitely was a change.
Was a big change when we start
to get access to the internet.
For me, especially, it was
like a huge difference.
BRETT PERLMUTTER: So you
had the Paquete, which
is like an offline internet.
And now you have
internet access that's
becoming more ubiquitous.
It's becoming cheaper
and more accessible.
Here in Google we
had put servers
in Cuba, which came live
in 2017 that made platforms
like YouTube available there.
CIMAFUNK: That's great,
that's great, that's great.
And these were fast already.
Were more fast that--
well, before it was
impossible get in there.
Now it's working, it's working.
BRETT PERLMUTTER:
So it's working.
OK, that's good.
We're going to
tell the engineers.
CIMAFUNK: Yes, yes, yes.
It's safe to say congratulations
to the engineers.
Thank you.
BRETT PERLMUTTER: So how do
you share your music now?
CIMAFUNK: I share
for both sides.
I shared the analogic
way that is the Paquete
and I share the internet way.
But now it is amazing.
Because before, the most part
of the crowd, the audience
to follow Cimafunk
when I started
was from outside of Cuba.
Because I released the
album in Paris and I
made all the campaign there.
But now it's, like,
90% of the people
are from Cuba who are
following Cimafunk.
And it's in the network,
it's in the internet
where I'm making everything,
almost everything now.
All the personal information
of the concert, all the joke.
Everything.
I post there and I have the most
part of the crowd is from Cuba.
That's why was telling you.
That's something new.
That's something new.
BRETT PERLMUTTER: So your
digital audience is in Cuba?
CIMAFUNK: Yeah.
The most part of the
people is crazy with that.
The people get
connection and it's
like a full time, full time.
They always trying to find a way
to be connect to the internet,
and it's good because
I'm doing the same.
So I'm making information,
putting information out there.
BRETT PERLMUTTER:
That's fabulous.
CIMAFUNK: Yeah, yeah, yeah.
It's great, it's great.
Been a good change.
BRETT PERLMUTTER: Yeah.
So in many ways, in Cuban,
I know you're very humble.
But I've gone to concerts
where you're selling out,
there are tens of thousands
of people crammed to see you.
And really you're
becoming, or your sound
is becoming, a bit of the
sound of this new generation
of creatives in Cuba.
And we had the opportunity to
collaborate in a fashion show
with Clandestina, and you
opened for the fashion show.
How do you collaborate with
other creatives in Cuba?
CIMAFUNK: Well, now
we are making them.
For example, for all
the visual content
I work with many designers.
Now especially with
Idania [INAUDIBLE]..
She have the great hands
for all these things.
So she's a creator,
and she's giving me
the chance to work with her.
And for the visual side,
all people from audiovisual,
we are working together
with Clandestina.
Also, they've maybe some custom.
Now it's a movement of
trying to be all together,
trying to put this in better.
It's the only way
if we stay together.
In my generation, now, that
is the feeling in Cuba.
It's the feeling of the
people are going to stay here.
I'm going to try to improve,
especially, the arts.
Now we had the
biennale, you should
know it's a madness there.
It's like a most
young than ever.
More people from my
generation that--
BRETT PERLMUTTER: This
is the art biennial?
CIMAFUNK: Yeah, yeah.
The art biennale [INAUDIBLE].
BRETT PERLMUTTER: Amazing.
CIMAFUNK: Yeah, it's crazy now.
BRETT PERLMUTTER: So if we were
to hop over to United States,
how has your time here been?
Is this your first tour
in the United States?
CIMAFUNK: Yeah,
it's my first tour.
BRETT PERLMUTTER:
And how's it going?
CIMAFUNK: Yeah.
Great, great.
It's great.
Everywhere that we
arrive, the people
receive us with really
kindness and they give us
all time, everything.
And we have been in places
really special for us.
Example, this is a super
special to be here.
And you all announced, so we
was playing in Tipitina's.
And in Washington, we
play in Tropicalia.
It's like places
when the people--
that the people enjoy and place
it with history and stuff.
So have been great,
have been great.
All the culture, all the
people, the music industry.
It's amazing.
BRETT PERLMUTTER: Fabulous.
That's great.
And tell us about
your concert in Miami.
So historically, going to Miami
has a certain significance.
CIMAFUNK: Yeah because
it's everybody there.
It's Cuba, it's Cuba, it's Cuba.
Miami is, like, a lot
of people from Cuba.
And they was waiting for
the music for many time
and they was, like, getting
crazy in the network.
Like, you have to
come, you have to come.
So when we arrive, it
was like a madness there.
It was a crazy day.
BRETT PERLMUTTER:
It was sold out.
CIMAFUNK: Yeah, yeah, yeah.
Sold out, sold out.
That was crazy.
The people was crazy.
And it was 12:00 AM, and was
kids getting to the stage.
It was, like, crazy.
Crazy day.
BRETT PERLMUTTER:
Sounds fabulous.
Sounds like you'll remember
it for a long time.
CIMAFUNK: Yeah, definitely.
We want to come back now.
In May we're going to come back.
BRETT PERLMUTTER: Great.
CIMAFUNK: May again.
BRETT PERLMUTTER: Great.
So what is one thing that
the world should know
about Cuba and Cuban music?
CIMAFUNK: Well, I think that
there's many, many things.
I'm super proud of
being Cuba, and I'm
super proud of the legacy
of the music in Cuba.
I'm seeing that, and the people
should know that, we are,
my generation is getting now
more in touch with the past
and with things that the
Cuban music have done for them
for the universal music.
And it's great.
It's great that
the people can know
that the importance
of the Cuban music
in the actual music
in the hip-hop,
in the funk, in the jazz,
and in many, many music.
Even in the rock, if you hear.
[SPANISH] and los Afro-Cuban.
It was one of the first big
bands who arrived to in here.
And you hear the
mambos of [SPANISH]
and after you hear some
beat from The Beatles
20 years later, and you
see that is the same lines.
So it's like Cuba have been
there since many time ago.
And it's important for us
try to put this in there
in the mind of the people.
It's more than reggaeton.
It's more Latin by many,
many musical styles
that bond the country and get
transforming in other stuff.
BRETT PERLMUTTER: That's great.
Well, I think the audience
wants to ask a few questions,
but before they do I
have a surprise for you.
I didn't tell you I
was going to do this.
We're going to play a game.
It's a game of free association.
It's very simple.
So I'm going to say
one word or one phrase,
and then you're going to
tell me the first thing that
comes to your mind in one
word or one phrase, OK?
CIMAFUNK: Easy words.
BRETT PERLMUTTER: Easy words.
OK.
OK, the first one
is Pinar del Río.
CIMAFUNK: My home.
BRETT PERLMUTTER: Internet.
CIMAFUNK: Thanks.
[LAUGHTER]
BRETT PERLMUTTER: Cimarrón.
CIMAFUNK: My home, also.
BRETT PERLMUTTER:
Collin Laverty.
CIMAFUNK: My friend.
[LAUGHTER]
BRETT PERLMUTTER: "Terapia."
CIMAFUNK: My album.
[LAUGHTER]
BRETT PERLMUTTER: James Brown.
CIMAFUNK: Hmm.
Godfather of soul.
BRETT PERLMUTTER: Maguey.
CIMAFUNK: Ooh.
People getting crazy.
[LAUGHTER]
BRETT PERLMUTTER:
Well with that,
let's have the
craziness continue.
Thank you so much.
CIMAFUNK: Thank you man.
That's fine man.
[APPLAUSE]
Bueno.
This is a song from the album
"Terapia" called "Paciente."
[CIMAFUNK SINGING "PACIENTE"]
[APPLAUSE]
CIMAFUNK: [SPEAKING SPANISH]
We're going to change the scene.
This corner of the house,
you need some also.
Now we are doing [INAUDIBLE].
[CIMAFUNK SINGING]
CIMAFUNK: [SPEAKING SPANISH].
Thank you.
[SPEAKING SPANISH]
[CIMAFUNK SINGING "ME VOY"]
BRETT PERLMUTTER: Let's
give it up for Cimafunk.
[CIMAFUNK SINGING "ME VOY"]
[APPLAUSE]
[MUSIC PLAYING]
CIMAFUNK: Thank you.
Thank you.
Thank you for coming.
Thank you.
BRETT PERLMUTTER: OK.
We have a question on this side.
Florian.
AUDIENCE: I saw y'all in
the dining hall and I said,
they're too cool to work here.
And I was right.
I was right.
Tremendous.
I feel like I want to watch
the movie that you guys would
be the soundtrack to.
That's where my brain went.
I'm very curious
about the effect
that your rise as a
style, as a group,
is having on dance
culture in Cuba.
Because, as a student
of salsa myself, I
saw several continents
moving in the legs on stage.
And I wonder how is
that translating now,
you mentioned with the arrival
of internet and the fact
that people can see more of
you, what effect that's having
on dance culture.
CIMAFUNK: Bueno.
This is [INAUDIBLE]
everybody is positive.
Because normally the people
in Cuba dance more salsa
is what we used to do normally.
Salsa or reggaeton.
Sometimes some
dancehall or some stuff
like that, but never
something like this.
But the scene is that
the people now they
don't ask what we are playing.
When they feel it, they
move and they are dancing.
So when the people start to
realize a couple of months
ago that was all the music
and they could dance that,
then it was more
intense and they
start to communicate
with us and say, OK, man.
We can dance with you.
So we go to the concert.
If we want to dance, we go
to a concert to Cimafunk.
It's no salsa, it's no
reggaeton, but we can dance.
Oh it's positive.
100%.
Thank you.
BRETT PERLMUTTER: We have
a question over here.
Steve.
AUDIENCE: Sure.
Yeah, I noticed, I
couldn't help but notice
at the end of the set while
Brett was on stage with you,
maybe his talents could best
be used outside of here.
You have an opening,
you know, for Cimafunk.
[LAUGHTER]
BRETT PERLMUTTER: If I could
be one of your backup dancers.
CIMAFUNK: Wow man.
Definitely bro.
He's a dancer also.
AUDIENCE: I noticed the same.
I was thinking the same.
CIMAFUNK: Man if you want.
Tomorrow we will
play in the night,
so tomorrow everybody's invited.
And you can come up
to the stage and you
can do whatever you feel.
You want to dance, you
want to play something.
The stage tomorrow
is for everybody.
So you're invited,
man, if you want to go.
BRETT PERLMUTTER: With his
endorsement, I'll take it.
AUDIENCE: I'm wondering how
you picked the band, how
that kind of came together.
CIMAFUNK: Normally, I put in
a previous band with more--
I'm going to say
more all people.
And because I don't know music.
I just make by hear.
I made the things.
I record with the voice, and
sometimes the musician came
and they put more in that.
But at the beginning,
I start to travel
to work with other musicians.
But we didn't get the
good communication,
because they was,
like, too much music
and I couldn't find
a way to transmit
what I was trying to do.
So I tell you, almost.
I send out maybe one year
putting the musician together.
And I chose new
guys in the media
in the musical
environment in Cuba.
So we start to talk, we
start to get communication.
And finally, we understand and
we start to groove together.
It was a crazy process.
We tried six bass players.
It was crazy, but at the end
we found the right people.
Thank you.
BRETT PERLMUTTER: So it was
a much easier process for me
to become one of your dancers?
CIMAFUNK: I don't
know about that.
Don't worry, don't worry.
You can dance, you can
dance, you can dance.
If you feel it, you can dance.
BRETT PERLMUTTER: Who knew?
All right.
AUDIENCE: Yes, hi.
I heard that you were going
to be a medical student,
or you were.
What happened?
CIMAFUNK: Yeah.
Music, music, music, music.
Because when I
was in the school,
I started to make music.
And when I arrived
to the capital,
I was living in the
outside of the countryside.
When I arrived to
the capital and I
saw what was happening there
with the music environment,
I just decided to
quick and move.
And I do, I finished.
I stop the school
and I ride to Havana
and start to find a way to
improve myself in music.
AUDIENCE: And I will see
you in Havana in July?
CIMAFUNK: Yes.
Definitely,
definitely, definitely.
Thanks.
Thank you.
BRETT PERLMUTTER: OK, so
let's do one final applause
for Cimafunk.
Thank you.
[SPEAKING SPANISH]
CIMAFUNK: [SPEAKING SPANISH]
[APPLAUSE]
