CYPRESS
Interview By Kevin Powell
The first thing hip-hop's latest gangsta rap stars want to
tell the world is, "Legalize it." Los Angeles-based
Cypress Hil appeared both on the cover and in the
centerfold of High Times, proclaiming their love for
hemp and outlining the rolling of a "blunt." Kevin
Powell caught up to them in New York, where B-
Real and Sen Dog gave him the low-down while
deejay/producer Mixmaster Muggs was busy in
the studio. With a slammin' cut on the Juice
soundtrack (Shoot Em Up") and a
self-titled album, these fellas
are aiming to leave
their dent on hip-hop
and then some.
What are some of
your influences?
B-Real: We've always
listened to hip-hop. That's our main
shit. But I've got to tell you, there's a lot
of rock-n-roll, because back in the day.
rock was coming from a dark point of
view the shit was deep-and if you
listen to our stuff, we're showing you
the dark side of life, so you'll say.
Fuck, we don't want to live like that."
We've always been hardcore. We've
never done a song that was soft.
You blend the cultures of black and
Latino youth in your music, but also
have a significant white following. How
would you describe your sound?
Sen Dog: It's universal. It may be that
fastbacks
VERSUS Retorood By Jennie Boddy
Two stupid bands, squaring
Gas the stupidity ratio with a punk-
huffer
pop to punk-garage
face-off. In one car-
ner is the Fastbacks.
NutraSweet Pabst Blue Ribbon lollipops
featuring Kim Warnick on vocals/bass.
Kurt Block on guitar/vocals, Lulu Garguilo
on vocals/guitar and Rusty Willoughby on
drums. In the other comer is Gas Huffer,
a sidebumcore hillbilly squawk band with
their own comic books, featuring Matt
Wright on vocals, Tom Price on guitar/
vocals, Don Blackstone on bass/vocals
and Joe Newton on drums. The action is
horrifying as the two groups duke it out.
asking questions only kindred hearts of
rock and roll would ponder, like: "What is
the first episode of your TV series Tres
Punk about?" "What's the difference.
between people and bugs?" And, "Will
there be a Kings of Rock reunion?"
These questions and much less were
battered about as the Great Mather Rock
mused even more crucial topics upon
these quizzical rogues.
Joe: Kurt, what's it like to be a smokin'
bitch magnet and how has that affected
your career?
Kurt: Well, it helped my guitar playing,
but my skateboarding's gone all to hell.
Tom: Are you guys a trio or a four piece?
Kurt: We're an expandable outfit. We
can operate from three to six players.
Matt: From ages 4-12.
HIL
we're Latin and Black and Italian, because the three of us.
that's what we are all together. The whole thing is we're
appealing to everybody. We did a show with the Beastie
Boys-that was alternative. A lot of white people were there
and they were into it. We think, 'Okay, we're strong about our
heritage, and shit like that, but we're not going to limit it to us.
We got to make it for everybody.
B-Real: Our sound is that trip-you-out type of shit and we
hope you're not fucked up when you hear our stuff because
it'll make you throw up.
What was the idea behind "How I Can Just Kill A Man?"
B-Real: Not everybody who kills somebody is a murderer.
You can be put in a position of self-defense, you know, put in
the position where you better fuck that person up or they're
going to fuck you up.
Sen Dog: We're not trying to justify killing anybody. That ain't
right Everybody knows that. Somebody coming up on you
and not even giving you time to be provoked, you got to
defend yourself. You got to do what you got to do to stay alive.
We say in the song, "here's something you cannot under-
stand." because not everybody lives where we live and has
to go through what we went through.
You seem to have a great deal of respect from the
East Coast hip-hop community
Sen Dog: New York rappers started it so they feel like they're
always the hardest ones. And it's true, because when LA
started making records, back in the day, they had some
whacked shit. There are always groups from New York the
whole world likes. There's never been a group from LA that
the whole world likes.
B-Real: Except for Ice Cube, NWA and Ice-T.
Sen Dog: Yeah, we're going to be that type of group.
Lulu: But seriously, I play as much as I
can. And when I can't play, I can.
Kurt: Why do you play guitar so funny?
Tom: It's a secret trick of mine. I call it
bad guitar playing.
Kurt: Why is Don scowling in all your
comic books? He's either scowling or
passed out. Why?
Matt: Don's concerned with the ecology.
Kurt: What's the funniest thing you saw
this week?
was Matt wearing a shirt and tie under-
neath his pajamas..
Matt: To me it's a fashion innovation, it's
not funny.
Joe: Well you said that was the salvation
of the world, if I remember.
Matt: Yeah, because there's no pocket in
the pants for money, and money is the
source of all evil.
Joe: What kind of automobile would you
describe your fellow Fastbacks as?
Rusty: Olympia Pacer
Matt: Besides myself, it was a very old Kurt: Rusty would be my old Nova that
man tap-dancing to muzak.
sits in the driveway.
Tom: I saw a very old man fall into a
construction pit, and as they were loading
him into the stretcher with his legs all
busted, the guy had this big old grin
going. "Ooh, I'm some kind of dumb ass."
Joe: The funniest thing I saw this week
Lulu: Kim would be a Gran Torino.
Kurt: Lulu would be a trashed 1967
Mustang.
Tom: Really, I've always thought of her
as more as a Festiva
Lulu: Kurt would have to be Le Car.
disposable heroes of hiphoprisy
By Amy Linden
With brilliant wordplay and a punk/rap/industrial assault, Michael Franti and co-conspirator
percussionist Rono Tse have unleashed what may be hip-hop's most politically aggressive and
groove-friendly call to arms. From the ashes of Bay Area Industrial outfit the Beat Nigs, the
Disposable Heroes of Hiphoprisy are taking hip-hop to the next level, where smarts, a sense of
politic, a few well-honed power tunes and a throbbing bass add up to an experience that wil
blow your mind. Put simply: the shit is dope.
There are several things of more import than the stereotypical hip-hop obsessions of girls,
gangsta lean and cash churning around Franti's mind. In an age where rap has become just
another form of slick entertainment, Franti's on-the-money observations are a breath of fresh air.
The revolution has not only been televised, it's on Yo! MTV Raps, and it's that commodization of
hip-hop that fuels Franti. "It all has to do with whether it's sellable or televisable." he says. "I
could make a record that said, 'Fuck Sony, fuck Sony, I hate Sony,' and if they could sell it, they
would. They would sell millions and then the owner of Sony would come up to me and shake my
hand and hug me and kiss me and say, Thanks for making us a million dollars, you're the next
disposable hero. Now we want something else."
TOHOH did benefits for resisters of the Gulf War and have addressed the alarming increase in
gay bashing, among other issues. The single, "Language of Violence," deals with homophobia
and the idea that "physical violence is an unacceptable expression of male anger-subjects not
usually dealt with in the hip-hop forum. "The idea behind that song is that in this climate where
there's so much hatred and violence, the real moral issue isn't so much who we love, but do we
love?" says Franti. "You don't necessarily have to love gays, but you certainly should not act out
violence against them and you should be able to love who you want to love. It's important to try
and understand what makes people want to express their virility through violence."
The twenty-five-year-old rapper's agenda is simple. What I try to do," Franti, a self-proclaimed
shit-stirrer, says, "is put out ideas that are going to make people think. I don't belong to any
political parties. I encourage people to vote, to become politically active no matter what it is. I don't care who they vote for as long as they think
critically and make a decision they feel is right. I try to challenge people to think, because I think so much of the media and music is passive."
N
TAR
By Mike Lavella
Tar has been pummeling crowds in hometown Chicago for
over four years, and flowing like a red-hot puddle of their
namesake substance over the rest of the world. To ask them if
they like being compared to the Windy City's finest. Big Black and Naked
Raygun, gets a quick, "We'll kill those bands! as a response. "No, seriously."
says singer/guitarist John Mohr. "subconsciously we can't help but sound a
ittle like them, because we all saw them a lot and liked them. But there's also a
bit of Wire, the Wipers, Sonic Youth, Black Flag, Minor Threat, you know, the
good stuff as opposed to. like, The Cars." While we were on the subject of
Chicago, I asked him why all the bands from there have such short hair. "It's
just the way to go. We sometimes do get asked if we are in the service though
Besides, it's in our contract."
A debut single called "Play to Win," released in 1988 on No Blow Records,
caught the ear of Amphetamine Reptile Records and the rest is as follows: the
Handsome Ep in 1989, the Roundhouse Lp in 1990, and the latest long-player,
Jackson, released last year. "I like Jackson best so far," guitarist Mark Zablock
says. "It breathes more and there are more quiet bits, so when the loud parts
come in it's more slamming." Ever wonder what the aural equivalent of a
steamroller would sound like? Try "Short Trades" or "Viaduct Removal. You'll
be scraping your pets off the rug after playing them for sure.
The intensity spills over into the live show, where even their guitars seem like
weapons. They're made out of aluminum and were built for us by this guy from
Chicago," says John. "They reflect light, which is good. If you catch it just right
you can blind a heckler in the audience. Or you could just crack them in the
skull with them. I offer. "I haven't done that...yet," John says with a sly grin.
The line-up is solid, the band is happy with their label, and there's plenty more
on the horizon. A song called "Deep Throw' has been recorded for the
SubPop/AmRep double 7', a video shot for the song "Goethe" will appear on the
forthcoming Dope, Guns and Fucking Up Your Video Deck Vol. II, and two
songs recorded in England for the John Peel radio show will appear on an Ep
that will also feature labelmates Helmet and Surgery. So don't be a "schleris,"
check out Tar. It's a melodic punch in the face that you won't soon forget
zounds
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