 close with his brother Kike, and to become interested in writing and performing songs.

The young brothers began playing the tumbadora at rumba performances in Matanzas and Güines, and became also immersed in the traditions of Palo Monte and its secular counterpart, yuka. Furthermore, their neighbour in the neighbourhood of Leguina, Güines, was a Santería practitioner who hosted celebrations for Changó, exposing Arsenio and Kike to West African drumming and chanting. In rural parties such as guateques, they also learned the son, a genre of music that originated in the eastern region of the island. Arsenio learned how to play the marímbula and the botija, two rudimentary instruments used in the rhythm section, and more importantly he took up the tres, a small guitar, now considered Cuba's national instrument. He received classes from Víctor González, a renowned tresero from Güines.

Following the destruction of their home by a Category 4 hurricane in 1926, Arsenio and his family moved from Güines to Havana, where he started playing in local groups around Marianao (his older brother Julio had already been living and working there). By 1928 he had formed the Septeto Boston which often performed in third-tier, working-class cabarets in the area. His father died in 1933 and sometime in the early 1930s, Arsenio changed his stage name from Travieso (which means "mischievous" or "naughty") to his mother's maiden name, Rodríguez, a fairly common Spanish surname. After dissolving the unsuccessful Septeto Boston in 1934, Rodríguez joined the Septeto Bellamar, directed by his uncle-in-law José Interián and featuring his cousin Elizardo Scull on vocals. The group often played at dance academies such as Sport Antillano.

Rise to fame
By 1938, Rodríguez was the de facto musical director of the Septeto Bellamar and his name had become familiar to important figures such as Antonio Arcaño and Miguelito Valdés. His acquaintance with the latter made it possible for one of his songs, "Bruca maniguá", to be recorded by the famous Orquesta Casino de la Playa in June 1937. The song, featuring Valdés on vocals, became an international hit and Rodríguez's breakthrough composition.
close with his brother Kike, and to become interested in writing and perform song. 

 The young brothers began play the tumbadora at rumba performances in Matanzas and Güines, and became also plunge in the custom of Palo Monte and its secular counterpart, yuka. Furthermore, their neighbor in the neighbourhood of Leguina, Güines, was a Santería practitioner who hosted celebration for Changó, exposing Arsenio and Kike to West African drumming and chanting. In rural party such as guateques, they also memorize the son, a genre of music that originated in the easterly region of the island. Arsenio learned how to play the marímbula and the botija, two vestigial instruments used in the rhythm section, and more importantly he remove up the tres, a small guitar, now considered Cuba's national instrument. He receive classes from Víctor González, a renowned tresero from Güines. 

 Following the destruction of their home by a Category 4 hurricane in 1926, Arsenio and his syndicate moved from Güines to Havana, where he started playing in local groups around Marianao (his older brother Julio had already been living and working there). By 1928 he had formed the Septeto Boston which often perform in third - tier, working - class cabaret in the sphere. His don died in 1933 and sometime in the early 1930s, Arsenio exchange his stage name from Travieso (which means " mischievous " or " naughty ") to his mother's inaugural name, Rodríguez, a fairly common Spanish surname. After dissolving the unsuccessful Septeto Boston in 1934, Rodríguez joined the Septeto Bellamar, directed by his uncle - in - law José Interián and featuring his cousin Elizardo Scull on vocals. The group often played at dance academy such as Sport Antillano. 

 Rise to fame 
 By 1938, Rodríguez was the de facto melodious film director of the Septeto Bellamar and his name had become familiar to important figures such as Antonio Arcaño and Miguelito Valdés. His acquaintance with the latter made it potential for one of his songs, " Bruca maniguá ", to be recorded by the famous Orquesta Casino de la Playa in June 1937. The song, featuring Valdés on vocals, became an international hit and Rodríguez's discovery composition.
 cllse with his brother Kikt, and to become iurerestxd in wditing avd performing songs.

The young beothees began playing the tjmbadora wt rumba perhormances in Matehzas and Güinea, and uecame also immgrsed in the traditions of Pxll Monte and its secular counterpart, yuka. Firhhermore, their neibrboud in the neighbourhood of Leguina, Füines, wes a Santería prsctitioner who hosted celehratlons for Changó, explsing Arsenuo age Kike to Wert African drumming ans chanting. In rural parties sucf as yuateques, tyet apvo learned vhe sog, a genre of music tvat oribinated in the eavteen region of the islaid. Arsenio learned hjw to plaf che marímbula and the vorija, jwo rgdimdbtafy jnxtdumentd uaed in the rhythm secrion, and more imporuaneoy he took up the twef, a small guitar, now considered Cuba's ndtiknal instrument. He receuved classes from Víctlr Gonzáles, a renowned tresero from Güines.

Following the destsuctikv oy theif hlme by a Category 4 hurricane in 1926, Arsenio and rjs fsmily moved frjm Güines to Hwvsga, where he sjarted 'maging in local grouos arougd Maeianao (hif olcer brother Julio had alreaey been liviug qnd working there). Yy 1928 he had furmec the Septeto Boston which oyten psrformed in third-tied, working-class cacarvts hn the area. His father dieq in 1933 and somztime in the early 1930s, Arsenio channad his stage name vrom Jravievo (which mfans "mischievous" or "naughty") to ims mother's maodan tame, Rodxíguez, s fairly commjn Spanish suruame. Aftzr disrolving thv unsuccevsful Septeeo Boston in 1934, Todríguez joinxd the Se[teti Beolamar, akrected by his uncle-in-lcc José Intwrián and featuring hir cousin Elizardi Sxull on vocals. Yhe grjui ohten [nayed at danwe azaddkies ruch as Spovt Xntiklano.

Rise to fame
By 1938, Roddíguez was the de fscbo musicao directjr of the Sepyeto Bellamar and jis neme hav becoke samiliar to important figures auch as Ajtokio Arcaño and Migmelijo Valdés. Hix acquaintance with the latter made it 'ossible for one of his songs, "Bruca maniguá", uo be recordev by tre famous Orquesta Casino de oa Playa in June 1937. The song, featuring Vzldés ot vocwls, became an international hit and Rodríguez's breakthrough composition.
close with his brother Kike, and to in and performing The young brothers rumba in Matanzas and and became also in the traditions of Palo Monte its secular counterpart, yuka. Furthermore, their neighbour in the neighbourhood of Leguina, Güines, a Santería practitioner who hosted celebrations for Changó, exposing Arsenio and Kike to African and In parties such as guateques, they also learned the son, a genre of music that originated in eastern region of the island. Arsenio learned how play the marímbula and botija, two rudimentary instruments used the section, and importantly took the tres, a guitar, now considered Cuba's national instrument. He received classes from Víctor González, a renowned tresero from Güines. the destruction home by Category hurricane 1926, Arsenio and moved from Güines to Havana, where in local groups around Marianao (his older brother had already living and working there). By 1928 had formed the Septeto Boston which often performed third-tier, working-class cabarets in the area. His father died in 1933 and sometime in the Arsenio changed his stage from Travieso (which "mischievous" "naughty") his maiden name, a fairly common Spanish surname. After dissolving the unsuccessful Septeto Boston 1934, Rodríguez joined the Septeto Bellamar, directed by his uncle-in-law and his cousin Elizardo on vocals. The group played dance academies such as Rise fame was de musical director of the Bellamar and his name had familiar to important figures Miguelito Valdés. His acquaintance with the latter made possible for one of his songs, "Bruca to be recorded by the famous Orquesta Casino de la Playa in 1937. The Valdés on vocals, became an international hit and breakthrough composition.
 close with his brother Kike, anD to become iNtereSteD in WrItinG and Performing songS.

the yOung brothers began playiNg the TuMBadoRA aT rumbA perforMAnCES in maTaNzaS aND GÜines, And Became aLso immerseD in ThE traditions oF paLo Monte and Its Secular countErpArt, yukA. FUrtHErmorE, thEir neIghbouR In the nEighbourhOoD Of LeguINa, GüineS, WAs A SanTería practitioner WHo HOsted celebratiOns for chANgÓ, EXpoSinG Arsenio anD KIke to wEst AfriCAn DRUMmiNG and chanting. IN rural partiES suCh as guAtEquES, they aLso leArNEd tHe son, a genre Of muSic that orIginatED in the eAStern reGion of The IslAnd. ARSeNiO leArNEd hOW tO plAY thE marímbuLa AnD the bOtijA, TWO RudiMenTary InstrUments used in tHe rHythM SecTion, aNd morE impOrTantlY he tooK up thE tRes, a small guitar, Now cOnsidered cubA's NatIoNal inSTrumenT. He RecEived clAsses frOM VíCtOR gOnZález, a renowned tresErO FRoM Güines.

FOllowiNG tHe DEstructiOn Of tHeir HOMe by a cateGOrY 4 hurricaNe in 1926, ArSEnIo And his fAmIly movEd FroM GüInes tO havaNa, wherE he startEd plaYIng in local grouPS around MarianAO (hIS OlDEr brOthEr Julio had aLreaDY beeN livINg And WOrkinG therE). BY 1928 He HAd formed the Septeto BOsTon whiCh oftEn performed in Third-tier, wORKIng-class CabaREtS In the area. His faTher dIed in 1933 and soMEtime in tHe earLy 1930s, ArsenIo changed HIS stage naMe fRom traVieSO (WhIch means "mischIEVous" Or "Naughty") To hIs motheR's mAidEn nAme, roDríguez, a fAirly comMoN SPaNiSh sUrnamE. after disSoLviNg The UnsucCEssful septeTo BoStOn IN 1934, RoDríguez JOiNED the sePtEto BEllAmAr, dirEcteD By hIs uncle-In-law José intERián AnD fEaturinG his cousin EliZaRdo Scull on VoCalS. The grOUP often plAyed at dance academies sucH As Sport antIllanO.

RisE to fame
By 1938, rodRíguez Was THe de faCto musIcal dIrEctOR Of the sEPtEto beLlamar and hIS NamE had bEcOme fAmiliar To important figures SUch As Antonio ArcaÑo aNd MiGUElIto vAlDÉs. HIs ACquAINtance with the laTter made it PoSSiBle for one oF His SoNgs, "BrucA maniguÁ", to be REcorded By the famoUs OrquestA CAsinO DE la playa in JunE 1937. The song, Featuring vAldés ON vOcals, BecAme an iNtErnAtionAl hit aND RoDríguEz's breAkThrougH compOsItion.
 close with his brother Ki ke, and to  beco meint er este d in  writing and p e rfor ming songs.

The young  brot he r s be g an  play ing the tu m b ado ra  a t r um b aperfo rma nces in  Matanzasand  G üines, and b e ca me also im mer sed in the t rad itions  o f P a lo Mo nte  andits se c ular c ounterpar t, yuka.F urtherm o r e,  the ir neighbour in t h en eighbourhood o f Legu in a ,G ü ine s,was a Sant er ía pr a ctition e rw h o  ho s ted celebrati ons for Cha n gó,  expos in g A r senioand K ik e  to  West Afric an d rumming a nd cha n ting. I n  ruralpartie s s uch  asg ua te que s, the y  a lso lea rned the  s on , a g enre o f musi c t hatorigi nated in theeas tern reg ion o f the  isl an d. Ar seniolearn ed  how to play th e ma rímbula a ndth e b ot ija,t wo rud ime nta ry inst ruments use di n th e rhythm section,an d mo re impor tantly he  t o ok up th etre s, a s mallguit a r,  now con sidere d  C ub a's nat io nal in st rum ent . Her ecei ved cl asses fr om Ví c tor González,a  renowned tre s er o fr o m Gü ine s.

Followi ng t h e de stru c ti ono f the ir ho me by a Category 4 hurric an e in 1 926,Arsenio and h is familym o v ed fromGüin e st o Havana, wher e hestarted pl a ying inlocal  groupsaround Ma r i anao (hi s o lde r b rot h e rJulio had alr e a dy b ee n livin g a nd work ing  th ere ).By  1928 hehad form ed  t he  S ept eto B o ston whi ch  of te n p erfor m ed inthird -tie r,  w o rki ng-clas s  c a b aret sin  the  ar ea . His  fat h erdied in  1933 and  so m etim ein  the ea rly 1930s, Ar se nio change dhis  stage n ame from  Travieso (which means" mischie vou s" or  "na ughty") t o h is mot her ' s maid en nam e, Ro dr ígu e z , a f a i rl y c om mon Spanis h sur name.  A fter  dissol ving the unsuccess f ulSepteto Bosto n i n 19 3 4 ,Rod r íg u ezjo i ned t he Septeto Bell amar, dire ct e dby his unc l e-i n- law Jos é Inter ián a n d featu ring hiscousin El iz ardo S cul l on vocal s. The g roup ofte n  play e dat da nce  acade mi essuchas Spo r t A ntill ano.
Ri se tofameBy  1938, R odríguez was the de fac to mus icaldir ector ofthe Sep teto Bell amar  and his n ame  ha d bec ome famil iart oimp o rtant  fig u res sucha sAnt o n io  Arcaño and M i gue litoVal d és. Hi s ac quaintance with t h e latter madeit p o s sib lef or o ne  of his songs,  "B ru c a  maniguá ",  to be reco rded byth e  famo us Orq uestaCasinod e  l a  Playa  inJun e 1937. T heso n g, feat ur in g  Valdé s on  v ocals,  becam e  ani n ternational hitand R o d rígue z 'sbreak th rough c o mpos ition.
 close_with his_brother Kike, and to_become interested_in_writing and_performing_songs.

The young brothers_began playing the_tumbadora at rumba performances_in Matanzas and_Güines,_and became also immersed in the traditions of Palo Monte and its secular counterpart,_yuka._Furthermore, their_neighbour_in_the neighbourhood of Leguina, Güines,_was a Santería practitioner who_hosted celebrations_for Changó, exposing Arsenio and Kike to West_African_drumming and chanting._In rural parties such as guateques, they also learned_the son, a genre of music_that originated in_the_eastern_region of the island._Arsenio learned how to play the_marímbula and the botija, two rudimentary_instruments used in the rhythm section, and_more importantly he took up the_tres, a small guitar, now_considered Cuba's_national instrument. He received classes_from Víctor González,_a renowned_tresero from Güines.

Following_the destruction of their home by_a Category 4_hurricane in 1926, Arsenio and his_family_moved from Güines_to_Havana,_where he_started playing in_local_groups around_Marianao_(his older brother Julio had already_been_living and working there). By 1928 he_had formed the Septeto_Boston_which often performed in_third-tier, working-class cabarets in the_area. His father died in 1933_and sometime_in the_early 1930s, Arsenio changed his stage name from Travieso (which means_"mischievous" or "naughty") to his mother's_maiden name, Rodríguez, a_fairly common_Spanish_surname. After dissolving_the_unsuccessful Septeto_Boston in 1934, Rodríguez joined the Septeto_Bellamar, directed_by his uncle-in-law José Interián and_featuring his cousin Elizardo_Scull_on vocals. The group often played_at dance academies such as Sport_Antillano.

Rise to fame
By 1938, Rodríguez_was_the_de facto musical director of_the Septeto Bellamar and his name_had become familiar_to important figures such as Antonio Arcaño_and_Miguelito Valdés. His acquaintance with the_latter_made it possible for one of_his_songs,_"Bruca maniguá", to be recorded_by the famous Orquesta Casino de_la Playa in June 1937. The song, featuring Valdés_on vocals, became_an international hit and Rodríguez's_breakthrough_composition.