Cypress Hill > To see, to hear, to speak

Interview by Paola “ZKR” Zukar Article by Silvia Volpato AL March 34, 1999

The stage is huge, the figure of a ruler on his throne stands out in the center, seemingly controlling everything,

that he is always watching you, but his eyes are two empty, black craters, his face is a skull, a giant skull smoking a cigar, a “blunt” of equal size. The feeling is that of being sucked into an Aldous Huxley novel, “The Monkey and the Essence.” The landscape is post-atomic, the rebirth relies on cannabis seeds. Anxiety has become a tactile sensation, it's on you like a blanket, and when the energy of a bass line comes to release you from your own skin, then you realize once more how many incredible forms Hip Hop can take. Hip Hop, in this case, is also called Cypress Hill, and their new advent bears the number IV.

Nothing to say; Cypress’ musical chemistry is perfect and unchanged. B Real's nasal tones are exactly where we'd like them to be, his rhymes continue undaunted to smell of marijuana, disengaging our heads from the rest of our bodies and then dragging us back down into the reality of the street. DJ Muggs has kept the recipe and his beats still come out sinewy, the up-tempo drums, the guitar excerpts parading from the blues still manage to sound as acidic as punk in his hands, while the horns he scatters here and there invariably remind us that these gentlemen hail from Cypress Avenue in the South Central area of the City of Angels. And the multicultural heritage all comes through in their pieces and can be read on their faces. Cuba, Mexico, Italy and California are all there before us in one. B Real, Muggs, Bobo and Sen Dog are back, enriched by different professional experiences and accompanied by a new member of the family, Barron Ricks, the hardcore voice of Call O’ Da Wild. What Cypress Hill has been able to build over their eight-year career has proven as solid as the affection they have cemented in the hearts of their countless fans. If the success of their four albums did not speak for itself then we might recall all the projects supported by the band members such as that of House of Pain, Delinquent Habits, the fledgling, anxious Psycho Realm, and ending with DJ Muggs' production company: Soul Assassins Productions. Draw wherever you like from the deck. When we meet them they have recently finished the mammoth Smokin' Grooves Tour in the United States, in the company of at least a score of the best-known rap artists, and they are already on the roads in Europe promoting their new lp. Cypress Hill have the ability to fill stadiums and arenas almost anywhere in the world with incredibly diverse audiences, an almost unparalleled feat for a rap music concert. Europe is among the first to always welcome them with open arms.

Dj Muggs is notoriously reluctant to talk about his work, he immediately lets B Real be the spokesman for the whole group, and it is with him that we try to understand the secrets behind the success, behind their “green thumb,” behind the skull icon and behind the wrought-iron gates of the cemeteries leading to Cypress Hill and the infamous Temple of Boom.

Let's first talk about your new album, “IV.” I was also interested to know more about the image of the three skeletons on the cover. The skulls that you always use are very close to those of an artist from Los Angeles: Chaz Bojorquez. I was wondering what significance they have for you.

“For the first part of your question I think our fourth album is very close to the first one. In this case, as then, we tried to do something funny, intelligent and very raw -- to put a little bit of everything in short. As for skeletons, skulls are the image that has always represented our group. It is a part of the body that men and women have in common. We are all made of flesh and bone, and the skeleton is what remains of each of us when we die. It represents the passing of our spirit. As for the cover this time we wanted to show whole skeletons instead of skulls. You see, the three skeletons are in three different attitudes; one covers his eyes, the other his ears and the last one his mouth, this is what many people do to mask the reality when they are afraid of something--they cover their eyes because they don't want to see. Others, however, are so mentally closed that they don't want to hear anything. We are absolutely opposed to what these three skeletons do, as rappers we represent the exact opposite of this attitude, we are absolutely open to everything.’

I always read with interest the answers you gave to people who asked why Cypress Hill does not make a certain kind of Hip Hop and rather try to move in a totally new direction. You are very clear on this point aren't you? 

“Definitely. Everyone is always trying to understand why you make one choice instead of another, but no one can ever understand it because you alone decide your goals and destiny. A lot of people are stubbornly unwilling to accept it, but we have always, blatantly tried to do something totally different from everyone else. We don't want to do Hip Hop the same way all the time, we want our sound not to get old, to be fresh all the time, and that in my opinion cannot happen as long as you stick to patterns.”

One of the words that is used most often in Hip Hop today is “originality.” You are undoubtedly considered one of the most original groups not only because you don't look like anyone, but also because there are many people who have tried to copy you. How does this make you feel today, in 1999?

“Being considered original is definitely a good thing, that's exactly what we want. Cypress has always tried not to go the way of other bands, we may have taken inspiration from someone, but being duplicates is a bad thing. If someone copies us--well, we can't really do anything about it. Yes, in a way being copied you have to take it as a compliment. However they can copy you but they can never be you. If you inspire someone and manage to touch them with your work, then I consider that a good thing, but when someone takes something you've made and uses it for themselves then it's not even copying, it's stealing and I consider that an offense seriously. At the end of the day, however, I don't worry about it because the same thing happened to a lot of artists-Public Enemy, BDP, Ice Cube-everyone wanted to be like them, but the people who copied them had nothing left because they hadn't done anything original.” 

By the way you guys have an absolutely amazing hard core of fans. Every time one of your albums comes out they follow you to 100%, it's rare to have support like Cypress Hill can boast, how does the total loyalty that your audience shows you make you feel? “It's extraordinary. I can only say that I appreciate it immensely also because they are the reason why Cypress Hill's success has lasted for over eight years, while many others stay on the scene one or two at most. Eight years in showbusiness, four albums and a couple of other projects; this is what we have accomplished because of the loyalty of our fans. This is also why we always try to give all of ourselves during concerts, especially now that MTV and other music channels don't broadcast our videos and songs much anymore. The stage is the most direct medium through which to give back to our audience.’

How do you keep up with all the touring you do, you just finished the “Smokin’ Grooves Tour” and you're already on the road again, it's unbelievable!

“We are like soldiers, we have a mission to accomplish so we stay on the battlefield and try to come out victorious every time.”

I was reflecting on the fact that you also have an incredibly diverse audience that goes far beyond the borders of the United States. Do you ever find yourself wondering, “but how come this German or Japanese guy can hear my music so much”?

“It's a question that you definitely have to ask yourself because it's important to understand what these people may have in common with you such that you can share what you're saying. In every corner of this world there are ghettos and in that sense we all face the same difficulties, the same obstacles and that's what our music is about, how to overcome barriers, how to live a better life. Often our pieces are misunderstood because people don't listen to the messages, they only listen to the words like ’fuck you“ and ”kill you,“ but those who live the same things we do, even if they're on the other side of the globe, they know what we're talking about and they mirror what we say. We're honest, we've never tried to talk about things that we don't know or that aren't part of our lifetimes, and I think people appreciate and respect our honesty.”

You say your texts are often misunderstood, but at the same time you don't seem bothered by this idea.

“Not at all, because I know exactly what I want to communicate when I write a piece. The media has always tried to paint us as a gangsta group that only talks about violence and drugs, but that's not what we are. We talk about marijuana but we don't consider it a drug, we don't go around telling people “smoke it,” we explain the effects produced by marijuana. As for violence our aim is to talk about it to explain to kids that they should stay away from it. We tell the reality, we describe a violent and unhealthy world, where people who deal drugs and use violence on others for no reason lead their lives on a definite path and suffer the repercussions by ending up in jail or becoming homeless.”

How do you see, for example in Los Angeles, the movement that is being created through Hip Hop? I mean, do you feel like it's giving jobs and new hope to kids?

“Oh yes, without a doubt. There are thousands of kids who have very little chance of getting a job in L.A., but the fact that they have talent in writing lyrics or performing gives them a chance to break through, a chance they didn't have before. When breakdancing started to disappear from the American Hip Hop scene, people didn't realize that it was a good thing that kept a lot of kids out of trouble. No longer having breaking for many meant ending up in gangs doing drugs and dealing drugs, because there was no choice and no stimulation. This is a fact of life. Kids need something in which to discharge their energy, something that makes them feel important and part of a group. Especially nowadays young people are sidelined and no one really listens to their needs, and this results in the proliferation of violence. Music represents the only element that kids can rely on to get out of this, it gives them a chance that they could not find in any other way in this society.”

In pieces like “Insane In The Brain” and “How Could I Just Kill A Man?” you have tried to bring out the positive messages that arise from reflections like this on violence, but at the same time you have managed to convey the sense of anguish and negativity that necessarily accompanies violence. How do you manage to turn negativity into a positive message?

“I look back and reflect on all the things I've done wrong and try to understand how this has had negative repercussions on my life. There is always the flip side of everything you do. When I talk about something negative I may even say it's funny, “Hey, that was a blast guys!” but in the end what happens is that because of some bullshit one ends up in jail, or loses his best friend or gets killed himself and I tend to be very explicit about that so that every human being with a modicum of intelligence and reasoning realizes what awaits him at the end of the ride. This is my way of bringing positivity out of violence.”

Going back to the marijuana talk you were making earlier, do you think kids fully understand the way you talk about it, or do you think it's something that comes by itself once you grow up?

“It's just as you say, it's something you figure out with age, when your outlook changes. I figured it out on my own how it works, with time -- or maybe I should say I still haven't figured it out completely. Either way, I don't worry about it too much, I don't go around putting weed in kids’ hands and telling them “take this, smoke it, it's good for you.” The problem is the parents, they should realize that banning something only increases a kid's curiosity, they should tell their kids the truth, give them reasons for doing or not doing a certain thing. Otherwise it's normal that then you go looking for the answers yourself-you know, you go out with friends, you see that they smoke, you think about what your parents told you however at the same time you want to understand and then you do it too. The problem is that then you have to be careful because there will always be someone who will come and put a piece of a different shit in your hand and say, “come on try this, this is better!” and then in order not to feel like a loser in front of your friends you try that other shit too. It's curiosity that drives kids to do certain things, and the best way to help them is to tell them the truth, maybe pick them up and take them to see how addicts live...I mean, you have to be honest, we don't have to water it down for them and we can't lock them in a drawer because sooner or later they're going to explode and then they'll be screwed because they won't be prepared for what's coming.’

Speaking of “IV,” there are some really interesting themes that come out of some of the tracks. For example, I would like you to comment on “Clash Of The Titans.” It's quite a complex track and not easy to understand, it sounds a bit like reading the Bible; every time you listen to it you catch a different aspect of it.

“Basically it's about the struggle against our spirit. People neglect their spirituality to have money or fame or whatever. For me spirituality is God, but it can be any other force you believe in. “Clash Of The Titans” talks about the effort our soul makes whenever it has to decide between the material and the spiritual. This is the first song about spirituality that I ever wrote for Cypress Hill, it was kind of a gamble for me because I didn't know if people would understand, but it was something I felt I had to say and I did.” 

Over the past few years, Cypress Hill has changed lineups, done separate projects, and then got back together. What has all this brought you? 

“My solo experience taught me a lot... it taught me that I can still make it, it taught me to be stronger so that I can survive without the others and at the same time it united us even more as a group. Now Cypress is qualitatively much better than before, we still have Muggs on beats, there is me and Sen writing the lyrics and Bobo on percussion, finally we have a new member in the family: Barron Ricks who has contributed by bringing a whole new vibe and amazing energy to our album, but also to our live shows. Our family is constantly growing and we are moving in a very positive direction.”

I was reflecting on your cultural origins, Muggs is Italian, Bobo is Puerto Rican, you are Cuban and Mexican... You all live in Los Angeles, and I was thinking that there was a time, around the 1950s, when the American system created big problems for artists and intellectuals, and some people decided to move abroad, maybe going back to their home countries, or coming here to Europe. Today things have changed, we talk a lot more about social problems, however, people still live in the same environment. I was wondering if you have ever thought about moving somewhere abroad. 

”If I ever decide to leave the United States, Europe would probably be the most convenient place to move to. I've never really thought about it, but you never know, I can't rule out that one day I will decide I've had enough of all this. The music scene is very strong in Europe, I know several people who live here and I know that my music is appreciated. The only obstacle would be having to get used to the different lifestyle, but I think Europe would be one of the few places where I could live outside of America. I also really like Japan though, I love Japan.”

The opposite of this is happening a little bit with us, America is a very strong reference point, and many people are disturbed by the Americanization process that we are slowly undergoing. What do you think about this? 

”I am convinced that Europe has cultural roots that are too deep and ingrained for America to really make a dent in them. In the next 10 or 20 years there will be natural changes because a new generation will take over. If there is a further process of Westernization I believe that the changes in Europe will still remain marginal because the connection you have with your history and traditions is so strong.” 

What do you think the exchange will be like, the transition between our generation and the next generation?

“I think it will be easier than what we had with the generation before us because we have learned the power of communication much better, and as long as we have the ability to communicate with younger people, things will be better. We must never lose sight of what we were when we were young, the difficulties we went through, because they are in some ways the same ones they will go through. If we are able to communicate this, then it will be easier to keep in touch with the new generation. Hip Hop in this case is definitely a valuable means of communication.” 

At the end of our conversation B Real introduces us to the newest affiliate of the Cypress Hill family: Barron Ricks, who immediately demonstrates his enthusiasm for finally being part of a group around which he has been satellitating for several years now.

“Cypress Hill has always been a fantastic lineup, I am the newest member but I think I contributed a lot of energy to the work done on the last album. We did a team effort and had fun, everyone did their part. B Real definitely took the lyrics to a higher level on this lp.”

How did you get involved with the group?

“Well, I was part of Soul Assassins back in 1992/93, when Cypress was recording Black Sunday. My group was called Call O’ Da Wild, we worked on Dj Muggs“ project for the Soul Assassins LP and a couple of other things. We did the Smokin” Grooves Tour together. When B Real called me to ask me to participate in ’IV’ I immediately ran ... I mean, it's one of those calls everyone wishes they could get in life, don't you think?“

What about the Smokin’ Grooves Tour, how was it? “Heavy, a very heavy tour, but definitely one of the best tours in the history of Hip Hop. You realize that it puts together Busta Rhymes, A Tribe Called Quest, Public Enemy, Onyx and Cypress Hill-it was incredible. We had a lot of pressure on us but everyone was absolutely professional, there was competition on stage, but once the show was over it was back on the road and we were all friends, it was one of the best experiences of my life.”

I have heard that in the United States concerts are becoming a less and less popular phenomenon. How do you see Hip Hop's position in this light? “The fact is that Hip Hop works differently than other genres of music. The elements that give Hip Hop credibility cannot exist outside the atmosphere of a party; it's hard to match that kind of atmosphere with a show where thousands of people gather under a stage. Rap music has evolved a lot in these years, today there are big shows, big promoters and a lot of professionalism, and you can't go on stage anymore like you did in 1982-’83, without organization, just taking a microphone in your hand like that, just to mess around. In spite of that, I think the Smokin’ Grooves Tour managed to combine the more strictly Hip Hop elements with the professionalism of a big organized event.“

Let's talk about the tracks you participated in on the album. How do you compose your lyrics for Cypress, is there an exchange of ideas or do you write on your own and wait for a particular beat to come to you?

“Muggs is the main ingredient in Cypress's work because it is that very special flavor he puts into the productions that sometimes makes us decide what to talk about in a piece. I personally prefer pretty hard beats, so we always try to match up.” 

With B Real we talked earlier about the atmosphere of anxiety that characterizes most Cypress pieces. I find “Steel Magnolia” to be a perfect example of that. Where do you get the images you describe in that track?

“I usually start with a specific concept and then try to extend it in all directions so that the listener finds himself completely buried in what I am saying, but at the same time he finds all the answers he is looking for. It's important that people understand what you're saying in a piece, that's the power of creativity and lyric writing, you have to pull them into your world but leave them with a clear idea of what you wanted to communicate.’

I ask you the same question I asked B Real earlier: how do you personally explain the fact that Hip Hop is such an absolutely universal thing?

“Hip Hop is reality, it is real life. In the past decades there has always been something that has kept the same generation together in all parts of the world; in the 60s and 70s it was the hippie movement, today it is Hip Hop, and Hip Hop is also made up of little things, little distinguishing marks like wearing a hoodie, or a certain kind of boots, or keeping your jeans in a certain way, and when you meet a person dressed in a certain way, even if they speak German or Italian, you already know what you need to know, they are no longer a stranger. Rap music is like medicine for the blind and the deaf, it opens your borders.‘

Did you ever expect such a big development of Hip Hop when you were younger, when it was just a thing between South Bronx and Queens?

“I started with DJing and breaking when I was a kid, then I got into rap music. When I discovered the incredible power that words and lyrics have, what kind of effect they have on people, I got into it completely, I knew rap had great potential but I could never have imagined that it would become something of this level. I see it as God's work, that's why I remain humble, and that's why I believe that those who start Hip Hop today thinking only of becoming famous are starting off on the wrong foot and deluding themselves. I was telling you earlier about clothing and, you see, when we started there were not all these nice things, and no one could afford them anyway. We only had Adidas, and then t-shirts without any writing on them, so we would paste stickers on them to make them more colorful. I never thought I could be where I am now, but as long as people appreciate what I do, then I'm happy to be there.”