By Chris Richburg

No matter what you think of Cilvaringz, two things are clear. He loves his Wu-Tang brethren and he takes full advantage of his skills as an MC and producer to make a an impact. So much so that his determination and persistence paid off with a membership into one of the most lyrical and revered crews in hip-hop.

After six years of being affiliated with the Wu, Cilvaringz unleashes his long-awaited debut album “I”. The Babygrande Records release, which includes appearance from Wu-Tang members as well as a more than 60 minute DVD, marks the Arabic lyricist’s official entry into the rap game upon earning his stripes sharing mic time with and producing various songs for his partners in rhyme.

Cilvaringz recently took a minute to chat with us about his new album, expressing his feelings and views through music, leading the effort to legitimize Arabic hip-hop in the eyes of naysayers and whether or not Wu-Tang is still relevant in the current hip-hop landscape.

HipHopSite.com: This album took six years to complete. Why did it take so long to finish this project?

Cilvaringz: It was basically because by the time I had finished the first version of the album in early 2001, the content of the album was empty. Then when 9-11 happened, obviously a lot about my heritage became known to me. And while researching what could’ve possibly driven those hijackers to do what they did, I started reading loads of material, and so many things became clear to me. And from that point it lead to more knowledge about religions, world politics, socio-economy, etc. Being with Wu-Tang, it also allowed me to speak to a huge public, and I didn’t want that message to be empty. So I started re-writing my album. At the same time, I was also experiencing a lot of stuff with the Wu and also touring the world. So time just got stretched between rewriting, touring and finishing up college.

HHS: How does it feel to finally have the album come out after all this time?

Cilvaringz: Feels great, a load off my shoulders. Especially having put so much effort into making it a real nice package with the album, 60 minute DVD, the extensive DVD Rom. I’m happy fans are appreciating the effort and the nostalgic Wu sound I bragged about bringing back for years.

HHS: Patience seems to be your strongest characteristic, in light of how long it took for you to finally get an audience with RZA after that Amsterdam concert in ’97. Were you ever frustrated or discouraged from having to wait so long to see RZA?

Cilvaringz: Yes. The last time I went to NYC to meet up with him I didn’t even care about whether we were gonna work together or not. All I cared about was clarity. Was I ever good enough to have a chance at working with the brother under his flag, or not? All I wanted was to have that question answered; a single yes or no would’ve been fine to me. Because ever since ’97 I was walking around with that thought. Luckily it was yes.

HHS: What kept you going?

Cilvaringz: God, always God.

HHS: As a longtime Wu-Tang fan, how did it feel when you officially became part of the Wu-Tang family?

Cilvaringz: Somewhat surreal. I was in extreme positive vibes. Don’t get me wrong, but it was only the start of a long journey. At that time, all I cared about was having RZA’s mobile. Cause no way I was going to go through his people again. Once that was in the pocket I was happy.

HHS: It seems like everyone in Wu-Tang has a chamber to call their own. Describe your chamber and how it’s different from the chambers of the other Wu-Tang family members?

Cilvaringz: Well, being an Arab and a Muslim, especially in these times, it just shows a different chamber to all of us because you’re getting the views and thoughts of someone actually living in Africa and spending time in the Middle East. I don’t just rap about the pyramids. I’ve been there. I wrote my music at their foot. I don’t just say “bomb like Beirut.” I’ve actually been there. I know the people. I hear their real thoughts, what they think, how they feel, etc.

Furthermore, I don’t live the 5% ideology; I’m actually against that way of thinking, which separates me from my Wu brothers a lot. Plus every song on my album is something unique. You’ll have a song like “Death To America” showcasing the thoughts of many Arabs and Muslims worldwide because I want my listeners to understand them, and then there’s a song called “Forever Michael” in which I defend Michael Jackson from all the bullshit written and spoken about him.

HHS: Going back to the album, “Brothers Ain’t Brothers” seems to go at certain members of the Wu family. For a crew that’s supposed to be tight knit and down for each other, what was it like to have members of your favorite crew dislike you? Do you know why these members don’t like you? Why air it out for people on your album?

Cilvaringz: Well, it was never the Clan, the nine (9) brothers I was always down with. And some of them, like Ghostface, RZA, GZA, Raekwon, Meth , they’re like brothers of mine beyond the music. We get along fine.

However, the Wu-Tang Killa Beez, they are some of the ones who don’t get along with me, either because of my views, my success in touring, my relationship with RZA and the rest of the Clan, whatever it may be. And I air it out on my album because as a Wu-fan I was disappointed to learn of this animosity among some of the Wu people, not just with me. And so I felt it was only right to tell the fans about this for I was one of them. And RZA spoke on it as well on the DVD. And as an artist, we express our feelings and thoughts through our art. So it’s only right that when a song like “Brothers Ain’t Brothers” writes itself in one take, it must be released to the public.

HHS: The US government also takes a lashing on your album in the song “Death to America.” In an age where entertainers are scrutinized for criticizing America and its government (i.e. the Dixie Chicks), are you worried about alienating some fans who may be turned off by your opinion of the US and its policies?

Cilvaringz: Fans that have no ear for an opinion based on independent research should not be supporting my album whatsoever. I don’t care if that costs me one million listeners. I’m not doing this for the money. I’m alright really. And I never say I speak the truth, but you better consider “Death To America” to be the truth because these are the thoughts of many Arabs from Jordan, Egypt, Lebanon, Morocco collected on paper and recorded in spoken word. And therefore the song title is written between parentheses, because it’s a quoted title, not one based on my opinion. But so many people judged me by just looking at the title, not even listening to it. Ever since 2003 when I did that song live in Budapest, Hungary and it leaked to the net, they’ve been talking about that song.

HHS: Add to this the fact that you’re Arab and Muslim, do anticipate a lot of flack over this track by so called patriotic hip-hoppers?

Cilvaringz: Anticipate it, yes. But I don’t really care about their opinion on it. My job is to say it as it is. This is hip-hop, and hip-hop’s most used slogan is “keep it real.” It doesn’t get more real than this album about my side of the world. And it’s not all politics; it’s all kinds of stuff on the album. But this just sticks out because of its content. This song, along with “Brothers Ain’t Brothers,” was literally written in one take. It felt as if the pen was writing itself. That’s how real it felt.

HHS: You’ve carved a pretty good niche for yourself as a producer as well as a rapper. With that in mind, which do you enjoy more, rhyming or crafting beats?

Cilvaringz: Crafting beats. I’m not sure if I’ll do another album rhyming. I’m thinking of doing an all- produced album with my Wu-brothers and might feature here and there.

HHS: I understand that you’ve got your hand in a lot jars, including contributions to projects from Arabic hip-hop artists. What are you doing exactly to help bring elevation and success to Arabic hip hop? What separates it from American hip-hop?

Cilvaringz: I bring my experience and network to these countries that are in their Public Enemy stages. Hip-hop is fresh in the MENA region (Middle East/ North Africa). It’s just coming up and so I bring my management to the projects and artists in which I see much potential.

For instance, I have Salah Edin who rhymes in the Moroccan dialect of Arabic. He just finished a whole album in Dutch with Focus from Aftermath, Dr. Dre’s right hand man at the Math for six years now and a very close friend of mine. I also took Salah on tour with me, which was the biggest tour ever done in the history of Hip Hop, 41 countries, 101 cities, five continents. But his main focus is on Arabic hip-hop. So by doing this, his name is now well respected in Morocco and considered professional. It makes everything go much easier, cause they accept us as pro’s who know big people in high places. It’s stupid, but that’s what it is.

And I’m doing that for Middle Eastern hip-hop as well, with artists such as Syrian/Lebanese rap artist Eslam Jawaad who appeared on Danger Mouse / Damon Albarn’s “The Good, The Bad and The Queen” project and is constantly touring with them. And with two Palestinian artists. Palestine and Shadia Mansour, who’s the illest female from the whole MENA region. And one of my latest projects is the Moroccan rap group Fnaire. I brought them hip-hop video director Ivan Herrera and MTV Video award-winning DOP Pedro Castro to shoot a 35MM video for their new single “Yed El Henna,” which would usually be unthinkable in Morocco because of the costs. But since they’re great friends of mine, we’re able to do it And this is how we slowly but surely bring Arabic hip-hop to the front. Because in the Arab world, it’s still widely considered to be noisy music with lots of monotone talking over it and record labels don’t want to touch it.

HHS: You’ve got RZA, Raekwon, Method Man and Ghostface on your album. You have either rhymed alongside or produced for various Wu family members. Is there someone in the Wu that you haven’t formally worked with that you would love to collaborate with in the studio?

Cilvaringz: ODB. I got a song with him called “Winter Windz,” but am not allowed to release it due to the whole fiasco with Roc-A-Fella. But I got my hands on some of his unreleased vocals and the track is banging, some real rugged Wu shit. Maybe I’ll leak it. ODB and I spent good time together in my beginning years with Wu, but after he went to jail all communication went down.

HHS: Being a fan that’s now affiliated with the crew, you’ve pretty much got the inside scoop on Wu-Tang. What was the most surprising thing you learned from being a Wu family member?

Cilvaringz: How unorganized Hip Hop companies can be!

HHS: What’s the biggest misconception about the Wu?

Cilvaringz: You’d have to split it up between the Clan and the Killa Beez. Regarding the Clan, can nobody speak on that but the Clan itself. But regarding the Killa Beez, being one of them, I think the misconception was quite clearly spoken about on my album.

HHS: With the current state of hip-hop, it seems as though the vibe of the Wu-Tang has gotten lost in the shuffle. Do you think the Wu’s forthcoming album 8 Diagrams will make an impact in today’s hip-hop scene?

Cilvaringz: Look, this is a very complex question because I’m wondering whether Wu-Tang Clan is actually obliged to make an impact in today’s hip-hop scene. Fuck the current state; let’s look at what they dropped. If you look at it, you’ll see Wu dropped at least three classics! It was “36 Chambers,” “Cuban Linx” and “Liquid Swords.” To me, “Wu-Tang Forever,” “Iron Man,” “Return To The 36 Chambers,” “Supreme Clientele” and “Heavy Mental” can all be added on as classics. Many Wu fans would agree with me.

But let’s take the average hip-hop head who would say Wu dropped at least those three classics. You’d have to ask yourself, when did a group or artist produce three strong classics with at least five very solid albums in the runners up? I can only think of Dr. Dre with “Niggaz4Life,” “Doggystyle” and “The Chronic.” And he’d only have “Chronic 2001″ in the possible classic / runners up.

So to me, Wu-Tang has already set its seal on today’s hip-hop scene. Cause Lil’ Wayne can’t fuck with their status, nor can any of these Dirty South dudes or small time “one hit wonder” rappers. I’ve seen the coming and going of many groups. Roc-A-Fella, Murder Inc., No Limit, G-Unit and so on. But I went around the world and I’m telling you, that W logo is more famous than any of the aforementioned
movements except for maybe G-Unit which is I would say equally known. But I’m telling you that five years down the line you’d still see W logos on walls and places, but the G-Unit logo would be long
forgotten. Wu has achieved that legendary status, like Pac, Biggie, Bob Marley, Cypress Hill. They’re like a cult. You can’t take that away from them.

HHS: What do you hope fans take away from “I”?

Cilvaringz: The urge to research facts, truths, lies and history as it is given to them now from a variety of media sources. I want to stimulate them to do their own research and draw opinions on their personal findings, not on what the media tells them, because it should be considered tampered with at times. And then hopefully become more open-minded people. Whether it’s because I chose to do a song about my wife, or about Michael Jackson, or about why my people scream “Death To America.”