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BIOGRAPHY | BEEFS | INTERVIEWS | ARTICLES
THE HORSEMEN | CLOAK 'N DAGGA
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Spin: Here you are, a young, relatively underground rapper, and you're caught up in a war of words with hip-hop legend L.L. Cool J. First he disses you on his song "4,3,2,1," then you hit back with "Second Round K.O." and a mocking video starring Mike Tyson. Now your friend Wyclef Jean is jumping into the ring with his own answer song. Why do you think this old-fashioned MC battle has gotten everyone so excited?
Canibus: Every motherfucker on the planet has an opinion, but nobody's got the balls to really say what they feel. Basically, people are reacting because I said something that they always wanted to say themselves. It's like getting praise for being the class clown. But I said it to settle a personal issue. I wanted L to know, "Hey, you can do that to other people, but me? No."
Some people have suggested it was a savvy career move on your part, a way to work up publicity for you [still untitled] upcoming debut.
People who'd say that don't know shit about hip-hop, because they would know I already had a career going [guesting on songs by the Lost Boyz, Wyclef Jean, the Firm, etc.]. Truthfully, a better career move would've been to ignore the whole thing.
Hip-hop is so much about representin' where you're from, but didn't you practically grow up in a moving van?
Yeah, I was born in Jamaica, then we moved to the Bronx, then to D.C., then Miami, back to D.C., to England, to Atlanta, and now I'm living in New Jersey. As a kid, I was always new in town, always getting ridiculed and tested.
What kind of effect did that have on you? Listening to your music, it's like, "Damn, what is he so mad about?"
Look at it like this: When you send a soldier off to war and he comes back, you shouldn't expect him to be the same. So if you send a kid off to grow up in five or six different ghettos, it's going to affect him. Don't get me wrong -- it wasn't like Vietnam, but every ghetto is its own hell. So I've got this alter ego where I get in the mic booth and rip the song to shreds. But I ain't always some mad dog. It's like Mike Tyson: He's cool to kick it with at home, but in the ring he's gotta be ferocious.
Were you that ferocious in high school?
Let's just say I wasn't Mr. Congeniality. I didn't talk much. I didn't play basketball. I wasn't going to be caught dead at my high-school prom [laughs]. I see things with a different eye. It's like you go to the mall and look at one of those psychedelic 3-D pictures and it's all these jumbled-up shapes and colors. If you stare at it long enough you start to see dolphins and camels. That's how I see things all the time.
You're hip-hop's biggest computer phreak - one of your rhymes is about crashing other rappers' hard drives. Why the obsession with the Internet?
Racially, it's boundless. I can get on the thing and go "Yo, yo, yo," or I can talk like a 45-year-old white man and make some old lady in Wyoming's panties wet, you know what I mean?
In the song "How Come" on the Bulworth sountrack, you talk about the space probe Galileo and how there's a government conspiracy to ignite the planet Jupiter into a star on the dawn of the new millennium. Is that a sci-fi metaphor or do you really think that's going to happen?
Both. If it does happen, I'm Nostradamus [laughs]. I want my rhymes to seem ageless, man, to possess meaning. Look at Rakim. Even when he was wearing a gold chain in from of a Benz, his rhymes were about ageless things.
But what if we're sitting here on February 1, 2000, and there hasn't been a cosmic cataclysm?
Fuck it, by then I'll have said something else. I'll be like, "Well, it was just another government trick to keep us confused." Movies like Deep Impact or E.T. make massive amount of money talking about what might happen in the future. I'm just saying, "Don't underestimate the government; they got plans for you."
On that note, what did you think of Bulworth, a movie about an insane 60-year-old politician trying to rap in order to "tell the truth"?
Politically, it wasn't telling me anything I didn't already know. It just puts all these racial innuendos and cliches in one pot and says, "Look at this, laugh at this, isn't this weird?" It's like trying to do a comedy about Nagasaki or the Holocaust. Warren Beatty is a cool guy for trying to do something, but maybe he should've just gone door-to-door and talked to people. Because I don't think a Hollywood guy talking Ebonics in a movie is going to reach anybody.
Do you think there's a conspiracy behind that Galaxy IV satellite getting knocked out and all the pagers in the country going dead?
The satellite supposedly got struck by lightening? Please. It's so easy to make people believe lies. It's like, if you ask me, "Tell me who you're working for?" And I say, all smiling, "The Russians." And you go, "No you're not, who you really working for?" And I say, "I can't tell you." Then you think maybe I really do work for the Russians. You're not going to find the truth that easy. You've got to have a mind-set that questions things.
What's behind this new "Rip Rock" concept you and Wyclef [who coproduced Canibus' album] have been talking about?
It's hip-hop mixed with rock'n'roll, which a lot of people have tried, and it's generally turned out terrible. I won't name any names. But this is not an experiment, this is me. I'm not adjusting my rapping style to sound like no Marilyn Manson. I'm being myself and making it rock with guitars and shit.
I heard you were a hit in Scandinavia, where you toured with Wyclef's Refugee Camp.
That's deep. That right there teaches you that you have to make universal music. Why would I leave those people out of the scheme of things? You got to talk to everybody about everything under the sun if you want to go everywhere under the sun, do you know what I mean?
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