By CookOliver
The translation was carried out by Sei
Thinking of the ‘South’ in America, I believe there’s anatmosphere that most people would feel isn’t particularly a draw to the Japanese. How many Japanese people have jumped into that space, not just as Hip hop fans, but on equal footing with Southern artists, and built genuine connections? For one, though standard English may be universally understood to be ideal, in the South, it’s not that ‘English,’ but a specific system of slang that dominates – and in some places, that slang is barely recognizable to your average English scholar. Still, it’s also true that in many Southern regions, many people of Asian descent have already been living there, and there are many entry points to participate in the music culture.
Bun B, along with Pimp C, achieved a #1 spot on the US charts as UGK.
He is one half of the legendary duo UGK (Underground Kingz), based in Port Arthur, Texas, who established their status since the 1980s and 90s, presenting the harsh realities of the South through their rap. In other words, he is a Southern monarch who helped build the foundation of Southern hip-hop and possesses a realness and intellect that even Jay-Z expresses respect for. The weight of that significance can only be understood by those who were involved, which is precisely why the connections and trust that Cz TIGER built with Bun B and other rappers can be described as iconic within the history of Japanese hip-hop. I wonder if many listeners are even aware of this. And so, we conducted this valuable interview with Cz TIGER.
Interview: On Meeting Bun B (UGK)
Cook: Speaking of Bun B (UGK), he is a true legend. I would love to hear about how you met him! What kind of energy did you feel?
Cz TIGER: With the overseas artists I’ve collaborated with so far, we’ve exchanged opinions about the track we’re making and aligned our vibes, either in person upon meeting or through video calls if meeting wasn’t possible, to move production forward.
When it comes to Bun B (UGK), it was an exception because I had been listening to him since junior high and was a huge fan. I got a call from DJ 3cho, who had been supporting me since before my debut, and he told me that Bun B was looking for local artists to join him on his Japan tour. DJ 3cho reported back to me that he strongly recommended me, Cz TIGER, as the person who best understands the South from way back, and I immediately expressed my strong desire to participate as well. (Thanks, Sancho!) A few days later, it was decided that I could join the tour, and I met Bun B for the first time at a rehearsal for a live show in Tokyo after he arrived in Japan.
Cook: I see, so that was how you met. What was it like the moment you met him?
Cz TIGER: If I recall correctly, just after my rehearsal finished, he appeared surrounded by Pimp C’s son (Butler), a heavily built security guard dressed in true Texas style (Truck), a photographer, and many other companions of his.
We met right then, and his very first words were, “Good To See You Cz.” Hearing my name spoken in his unique, familiar voice was so surreal that I was genuinely excited. The energy was great, of course, but he also listened intently to every single word I said. In turn, he spoke to me casually a lot, and he even had me appear on his Instagram Live. Within less than an hour, we had warmed up to each other enough to call each other “Brother.” He had exactly the aura I imagined, and was even more of a gentleman than I expected. When Bun B spoke, everyone else, even if they had been making noise, would fall silent and listen quietly to what he had to say, showing that he possessed even more of a ‘boss’ presence than I had imagined. In my heart, I was continuously screaming “This is insane!” at the situation, Lol.
Cook: Amazing, Lol. How did “Let’s Get To It” come about?
Cz TIGER: I thought it would be awesome if we could perform a song together on the same stage if we were touring together, so I played dumb and asked 2 tight—the tour organizer who was communicating with Bun B—if he could ask Bun B to include me on his album, “Yokozuna Trill,” which was due for release soon. I figured it was worth a shot even if it was a long shot.
2 tight honestly told me that it might be tough because the production was already finished, but he said he would pass along the request, so I had sort of given up hope. It’s common knowledge among rappers that producing an album, unlike a single release, requires careful consideration of which songs to include based on the overall balance and theme of the album.
However, the very next day, I received a report that Bun B had given his approval. Furthermore, I had requested my name be featured on his track, but instead, he made it “Bun B feat. Cz TIGER” under his own name and even offered to distribute royalties. He treated me as an equal, and I felt his utmost respect and class.
Immediately after that, I was told he would send me the beat and the lyrics with my name included, and after I hung up the phone, I couldn’t help but scream “Daaaaamnnn Dream Coming True!!!!!” in the studio, Laughs.
Cook: Any hip-hop heads would scream with excitement given that sequence of events, lol. Was there a reason for it?
Cz TIGER: The album production was already finished, and it was a release tour for that specific work, so at the time, the reason I got the OK was a complete mystery. I’ll explain later, but when I heard the reason from Bun B himself, I involuntarily shed tears. The very next day, the track and his verse were sent over, and I got goosebumps from the shock and gratitude of the brand-new lyrics he had clearly gone out of his way to write just for me, despite production being finished. It’s normally unheard of for a king to go out of his way to shout out my name in his lyrics. Furthermore, the beat was the ultimate track: it had the thick 808s typical of Texas that I love, but also had trap elements added with my style in mind, making it a supreme new creation. Bun B liked the finished product, and when I explained that I direct my own video production and have a film team called Dex Filmz, he told me, “If it’s with Cz’s Dex Filmz, let’s shoot the video in Japan.” Thanks to that, we are where we are today. I also mentioned that the “Dex” in Dex Filmz came from my partner “Dee’s” name, and he said, “That’s the perfect story for a production.”
Dirty South Accent and Communication with Bun B
Cook: I see! I’m really curious about the second half. Communicating and producing music using the Southern accent/dialect sounds very challenging. How was it for you?
Cz TIGER: It’s said that the Texas accent is strong, but since I grew up listening to the music of Texas, Atlanta, and the South as a whole, the accent was no issue at all during communication with him or during production. Furthermore, I actually have an unreleased track and video shoot with Mike Jones from a previous stay in Texas (scheduled for release this year) and have friends there, so communication was actually smooth. The thing I paid most attention to during the production of this current work was showing my love for the culture by inserting Southern dialect and slang commonly used in Texas throughout the lyrics, as I thought Bun B might be concerned about whether I truly understand Texas culture. So I used words like “What It Do?” and “Slab” to appeal to the people of Texas, and also used globally recognized Japanese words like “Omotenashi (Hospitality)” and my original term “Ninja”, instead of using the N-word out of respect. My focus was on getting listeners worldwide, and especially those in Japan, more interested in the Southern scene. The only struggle in production was condensing what I wanted to say into 16 bars. Since it was such a dream-like scenario, I had at least 100 bars I wanted to rap.
Cook: It sounds like a dream come true for me too; I remember the UGK and Jay-Z collaboration playing in my dad’s car. The idea of using “Ninja” instead of the N-word is incredible. What kind of person was Bun B? I have an image of him being very scary…
Cz TIGER: When I first met him, he had a stern look, just as the name “Underground King” suggests. But after we talked, I saw a side of him I hadn’t imagined—in a good way, of course. We started with me asking him, “Why would you make a song with me and tour with me?” He had actually carefully checked my music, something I never expected from a legend like him, and had aligned his life experience with mine regarding his partner “Pimp C” and my partner “Dee,” who both passed away. I was so glad I became a rapper. I also happened to know that Pimp C’s son, who was touring with us, was named Chad Butler, and when I told Bun B that the name of the duo my partner and I formed was “Headges Butler,” he said, “It’s interesting how many coincidences there are. I really feel like you’re not a stranger, brother.” At that moment, I couldn’t help but laugh and shed tears of emotion. That’s why I included “Rip My Boy Dee n Pimp C!!” in my lyrics. I will never forget the moment he sang that verse with me. Among gangsters, there’s a rule that you should never show your teeth and smile at a stranger or someone you don’t know well. So when Trill OG Bun B, who made Southern gangster rap, smiled and showed his white teeth, saying, “I’m honored we could make the best song, and we’re brothers from today on,” I was so happy. I know I’m being repetitive, but this is Bun B we’re talking about. He’s what you call an American legend, so well-connected that it’s easier to count the people he hasn’t collaborated with. The caliber and presence of everyone’s hero was overwhelmingly huge. The weight of every single word he said was different.
Cook: For Bun B to feel that way and call you “brother”—that’s an amazing connection and mutual understanding. Were there any particularly impressive moments regarding Bun B during the live performances or filming?
Cz TIGER: During my stay, it was a very valuable learning experience and inspiration, as we not only performed live but also spent time traveling, having private moments, and, surprisingly, shooting the music video for “Let’s Get To It.”
What left the biggest impression on me regarding how incredible he is as a rapper was the sharp realization of just how professional he is. He conducts rehearsals properly, knows all his lyrics perfectly, practiced the unfamiliar Japanese I taught him over and over, and shouted them out. He even sang my lyrics both on stage and during filming. While I was happy, it also made me feel a little down, thinking I still have a long way to go (laughs).
Bun B was a man who treasured Hip Hop and his family. He went out of his way to introduce me to his wife, and once he accepts you, he treats you like family. I have many relationships with people overseas, but honestly, Bun B was exceptionally kind and cool.
Regarding a Tokyo tour, someone went by car, and on the way back from a live show, their manager was struggling to get out of the parking lot. The person being described went out of their way to walk in front of the car and carefully guide the manager. This action was described as genuinely moving, suggesting that even a Japanese person might not be that nice. There is gratitude for this person, who gave the manager directions like, “Cut the wheel a little more! More, more! Okay, now back up a little bit—” to make sure the car didn’t hit a wall or a pole. The person is described as being too nice.
Cultural differences between Japan and the South
Cook: “Man… that’s such an unexpected side of him, Lol. About the culture of the American South, especially around Texas, are there any differences you noticed compared to Japan that you could tell me about?
Cz TIGER: The American South feels similar to Osaka, where I was born. That’s why I related to a lot of the lyrics from back then; it was easy to visualize the scenes described in the lyrics in my mind.
For example, the atmosphere where they don’t turn anyone away—if you show respect, they want to show respect back and entertain you as much as possible—and the fact that there are hungry, energetic people everywhere you look. Everyone is actually connectedsomehow and respects each other. The tense, street atmosphere where talented people hustle or play sports until they get their chance in the spotlight is similar.
The chaotic atmosphere where people just hang out at the studio, where all sorts of deals go down, where guys who clearly don’t make music tag along, where people are smoking and playing dice or video games while on security duty, and where rappers rush to the booth shouting “Me too, me too!” when a good beat comes on—all of that was stimulating for me, and it was a lifestyle I could relate to and was drawn to.
Cook: I see, it’s true that the energy of Osaka and the heat of the South might have common ground. Were there differences compared to NY or LA?
Cz TIGER: For example, Osaka and the South aren’t huge cities like New York and Tokyo where there are endless jobs and people flock in from rural areas to work. But compared to other local regions, there are cities that are thriving, clubs that are popular, and a lifestyle close to Hip Hop with a sense of the local land. The difference I felt in Texas compared to Japan is… everything is huge,lol. Cars, studios, clubs, people, food, drinks, nature—everything is unbelievably huge. They Doing Everything Big Fo’real!!!!
Another difference is that the public safety is incomparable to Japan. It’s an environment that makes you think, “Of course you have to get serious about music.” Many Japanese people tend to have a bad image of LA, but if you know the city well, it’s easy to understand whose territory is whose. When I actually lived in the South (Atlanta, Texas) and compared them, the number of incidents where people were killed by locals in the same neighborhood was high, and the wealthy areas and the so-called ‘ghetto’ aren’t cleanly separated by roads. Right next to a mansion, gunshots and sirens are constantly going off. I physically felt that the South was clearly more dangerous.
In my case, because I’m Japanese, there are fewer Asians compared to NY or LA, so I struggled the most with standing out in the South at first. All day, when I went out into the city, I’d get checked in with “What you doing here bruh? Where you from? I got slip?” (Did you get permission from someone?). lol.
Lean is part of the culture, with close ties to top Southern artists
Cook: It sounds like a much harsher experience on location than imagined. That “check-in culture” is something you’d never experience in Japan. I believe lean is much more deeply rooted in hip-hop in the U.S. than in Japan, spearheaded by artists like Lil Wayne. What are your thoughts on that?
Cz TIGER: We Love Wayne, Pimp C. And I can say for certain that without Pimp C, today’s music wouldn’t exist, today’s Lil Wayne wouldn’t exist, and even today’s fashion would be different. In Japan, artists like Jay-Z and Ye tend to get all the attention and recognition, but among Black Americans, there are genuinely many people who will tell you that Wayne and Pimp C are the overwhelming legends. Dirty South culture has been growing and going major since the 2000s and continues to do so even now in 2025, so without them, today’s Hip Hop wouldn’t exist. It’s a well-known fact that Jay-Z referenced Pimp C’s flow, right? Seriously, go back and listen closely! Rip Pimp C!!!!
Cook: I’d love to ask about your involvement with overseas gangs and crews, and the “differences from Japan” you experienced firsthand on the streets!
What is the background to how Cz TIGER made the connection?
Cz TIGER: First, I have to start with why I decided to go tothe U.S. in the first place. As I mentioned, I had been listening to Hip Hop since I was little, and at the same time, my father ran a Jazz Bar, so I got hooked on jazz too, and naturally thought I wanted to go to America someday. Looking back, I did a lot of sports from kindergarten, and while my grades weren’t terrible in any of them, I felt in junior high school that it would be tough to make a living professionally in any of them. I had played piano in elementary school, and my older brother was also a DJ mainly focusing on reggae, so I liked listening to and playing various genres of music. I realized I couldn’t make a living through sports, so I figured I had no choice but to do music, and I remember deciding to become a rapper when I was in junior high. Coincidentally, that’s when I met Dee, and we later started our careers as rappers under the name “Headges Butler.” However, I was shocked by the lifestyle of overseas, particularly American rappers. Without knowing anything, I kept getting into trouble due to youthful indiscretion, going in and out of juvenile detention centers. At 18, I finally ended up in a juvenile training school. When I got out, I decided I would study English no matter what, get into a university, get a student visa, and move to the U.S.. That became one of the major turning points in my life. I got out of juvenile training school at 20, realized hustling alone wouldn’t cut it and would just get me caught again, so I worked numerous serious part-time jobs. While all my friends were having fun playing around, I holed up in libraries for hours on end, studying English relentlessly. Even when my mischievous friends and seniors teased me and we’d fight, I never quit studying. I was determined to start rapping in America with my partner, and I had promised him that we would. I liked Southern music, but my partner also liked West Coast music, so we were split on where to go.
Cook: And then you finally made it to the States. How did you start moving around once you got there?
Cz TIGER: Amidst all that, on June 2nd, 2013, two days before my 20th to 21st birthday, we finished a live show in Kobe and were on our way home in the car, driven by Dee. We got caught in an accident, Dee passed away and went to heaven, and I, who was in the passenger seat, was in the ICU until my birthday on June 4th of that same year. I had multiple complex fractures from head to toe and had lost part of my internal organs, but miraculously, I woke up.
I had finally gotten out of the juvenile training school and made a promise to my deceased partner, and things arestarted running, but within that year, I lost my eternal heroe, K-YO YAYO —the rapper and my mentor who had invited me to TORNADO—and my partner (Dee). I was in a situation where I couldn’t understand anything and couldn’t organize my thoughts. A year after finishing my hospital stay and rehabilitation, I decided, somewhat desperately, that people die someday even if they are good, and decided to go to LA, where my partner hadloved. Somehow I managed to get the student visa I had originally decided on, and I was able to enroll at California State University, Dominguez Hills in Compton.
Up until I was 20-21, I was rehabilitating and being serious, but after losing someone so important, I kind of went crazy. I used up all the money I saved from part-time jobs for study abroad preparations, didn’t secure a place to live, and went to Compton penniless. After arriving in LA and having no home, I crashed at acquaintances’ places. It took a while to settle down and finally get a home and a car. During that process, I couldn’t easily get a part-time job in the States, and I still lacked experience as a rapper. I had no choice but to become a hustler to make money, and I found myself fully living a street life in the States as well. At the time, I don’t think I even realized I was a hustler; I must have been crazy.
In that environment, I managed to become quite fluent in English despite being Japanese. Most of my friends were Latino or Black, and I started living with them. I wasn’t going to university; instead, I spent every day hustling hard while going to various studios. It started earning me more money than expected, and before I knew it, I had gained younger brothers who were Black gang members…
Incredible… A real experience in the South
Cook: Your ability to take action is off the charts, lol. You’re like Lil Baby…
Cz TIGER: Well my dream was to go to the South, so I saved money in LA and decided to live in Atlanta. I was living in LA at the time and life was going well and fun, but I couldn’t forget the sound of the South. My mind was always filled with Dirty South and building a career as a rapper. Since I had a lot of connections as a hustler, I was in contact with Migos’ manager, so I was introduced to Jose Guapo, who was signed to QC at the time and whom I respected. First, I thought I had to build up a name for myself as a hustler in Atlanta before we met, so I literally trapped from morning till night with my brothers in a trap house. While doing this, I ended up living in Fulton, and at that timing, Jose Guapo invited me to come meet him, so I headed to his trap house. Since I had a chance to meet him, I summoned TSURU, who is one of the members of “BANNINGS” (with Dee in Japan as the boss, who co-founded Dex Filmz) to the States, and went with Savani of Savani Production, who was Da Baby’s exclusive cameraman at the time. I hadn’t met Jose Guapo yet, but since I had finished recording the song, we decided to shoot a Vlog and Music Video in the Atlanta Zone 3 area. The footage from that time is up on my YouTube channel, so please watch it. And after the shooting, Jose Guapoand about 10 of his fully armed crew members told me they wanted to talk to me. I was waiting in his trap house kitchen, wondering if I was going to be killed, and Jose Guapo took a vote with his crew. He came over to me and said, “We talked about it as a crew, and would you officially join XVL (Xtravagant Lifestyle) as a rapper?” He offered me the opportunity, and I signed and performed a ritual with him and his crew right then and there, starting my career in the States in earnest. He’s a hood star in his hometown of Atlanta, so he supported me with various things after that, and I made even more connections. While making music in Atlanta, word started circulating on the street and on the radio that a crazy Asian had appeared, and I got in contact with Texas hood star MIKE JONES. I went to Texas for the first time as a rapper, and it felt like a dream come true. There were a lot of happenings and bad things like my friend getting shot and dying again, but I lived everyday excited and positive.
Cook: You thought you were gonna get killed… I don’t know whether to laugh or not… That’s exactly these kinds of songs!
Cz TIGER: So when I went to Dallas, Texas from Atlanta, Mike Jones and his entourage specifically came to pick me up at my hotel. We immediately decided to shoot a video with him in the lobby and went to the studio, finishing the song right away and deciding to shoot the video that same day.
It was around this time that the stereotype I had mistakenly held—that people overseas were lazier than Japanese people—was completely shattered. When I met active, frontline rappers, I was shocked to see a level of effort you don’t see in Japan. After going to Atlanta and Texas, there wasn’t a single day of rest; I really felt like I had come somewhere completely different from LA or Japan. The main thing is that there are no jobs, so everyone is putting their lives on the line to stop being a hustler and become a rapper.
I can’t say this across the board, but in Japan, delinquents, gangsters, and rappers tend to get mixed up, but in the States, those lines are clearly drawn. Each person’s role is clear and stimulating. The half-hearted can’t survive. I thought I might have chosen a hard life after losing two people in Japan, but once I got to the States, acquaintances and friends would just get killed every month as a normal occurrence, and I had no choice but to become tough myself.
The lifestyle in the South was very simple: earn for family and friends, share it with everyone, party lavishly with everyone when it’s time to play, and the next day, go to the studio again, earn on the street, and be active. The days just fly by… The sacred place for rap and hip-hop, no matter what anyone says, is the States, starting in NY and spreading across the entire country in an instant. So it is really important for Japanese rappers, if they are serious, to gain experience in the U.S. at least once, not just for fun. For example, if you love enka and want to be an enkasinger, you have to come to Japan at least once, right? [Laughs] It is the same as aiming for Europe if you continue soccer, which I personally used to play.
The problems happening in Japanese hip-hop really look small and trivial compared to the reality in America. This is not a diss, but I think the view tends to become narrow because Japan is an island nation. I personally think that overly conforming to things like “this is right because someone said so” or “I hate this person” is questionable. Because I was in America, I can see Japan’s wonderful aspects much more clearly, so there are no losses there.
Cook: I think you’re absolutely right. Most people wouldn’t ordinarily even think of going to the South, lol. But the result of Cz TIGER studying the accent and English there and actually taking action is what led to this legendary collaboration. So now you’re balancing activities both in Japan and the US?
Cz TIGER: Due to the pandemic, I haven’t been able to go abroad much, and my visa expired, so I am currently moving back and forth mainly between Japan, Tokyo, and Osaka. On the other hand, because of the weak yen now, I have more opportunities for people to come to Japan from overseas, so I can be in Japan and still work on things like the track and video production with Bun B, or tour with Jim Jones. Any rappers I have a connection with hit me up when they come to Japan, which is helpful. They Know I’m a Real Trapper n Plug!!!! In terms of life in Tokyo, working with and seeing people active in various genres and jobs keeps me more motivated than when I was in Osaka, and I never get bored. There are cool young people and seniors here. Also, even though there’s still dangerous stuff happening in Japan, the risk of being killed or arrested is lower than in America, so being able to spend time on music with peace of mind is a good thing. To keep from getting too peaceful and complacent, I video chat with my brothers and friends overseas every day and get inspiration while making sure there are no miscommunications with my crew in Atlanta.
Cook: I see. It’s about maintaining that communication, those relationships, and the ATL vibe. Finally, could you share your future outlook and a message?
About future prospects
Cz TIGER: My future plan is to drop my 2nd album in 2025, since it’s been several years since I released my 1st album, “WHATEVER”. I can’t give many details yet as it hasn’t been announced, but I hope you look forward to it, as it will be a work that only I can create while in Japan and it won’t betray expectations. Once it drops successfully, I’m thinking of a tour as well. Anyway, I will do everything I can do and perform everything while in Japan. After I accomplish that, I will be going back and forth on a tourist visa again, but I plan to travel internationally in three-month increments. I have received many offers for work in Europe as well as America, so I’ve decided to move more worldwide. Regarding the U.S., I have a project in progress that I hope will be even more impactful than the collaboration with Bun B, so please look forward to it. It’s frustrating that I can’t say much yet, but let’s just say I’m working with a different King of the South. [Laughs] Also, in the immediate future, the video and song with the aforementioned Mike Jones are scheduled to drop this year! There are also works in progress, and I plan to meet up with Mook TBG, Speaker Knockerz’s brother, in Miami to shoot an EP and video. Of course, I’m working with many Atlanta artists as well, so Stay Tuned!!! As someone living as a rapper, I believe the rapper’s role is to eternally connect what happened, what we felt, and what we loved through music for the next generation and future generations, acting on behalf of those who can’t raise their voices, so I appreciate everyone’s continued support!
After the interview
What I felt after finishing the interview with Cz TIGER is that he embodies rap not just through his words, but through his very way of life.
The attitude he has shown—jumping into the American South as a Japanese person, deeply understanding the local culture, and earning trust—demonstrates a strong resolve and, above all, sincerity.
His dedication to studying English is also a far cry from the general image of a rapper. That is precisely why when listening to his US tracks, it feels like I am not just hearing the sound, but listening to the lyrics. That was the impression I received.
If we, the listeners, can keep up with what he is saying, the Japanese scene will likely expand even further in the future.
Are there currently any other rappers in Japan capable of making such tough moves?
Above all, I feel that releasing this track with UGK legend Bun B is a highly significant event for Japanese hip-hop. It is not a mere collaboration; it is a historical moment where the realness of the South and the realness of Japan intersect as genuine articles. He is the sole connector between the closed Japanese scene and the South. He is one of the artists I most want to keep an eye on at HIPHOPCs going forward.
I’m posting the link here one more time, so please check it out ↓
Cz TIGER’s challenges and journey are sure to become a great hope for the future of the Japanese hip-hop scene from a completely different angle than existing connections. Please check it out below↓
Cz TIGER’s HPs:
Official Website: https://cztiger.com/?fbclid=PAQ0xDSwK-FdRleHRuA2FlbQIxMQABp7Nu1bdAoT_BvbayqXwn
youtube : https://youtube.com/@tornadocztiger?f
Insta : https://www.instagram.com/cztiger?igsh=ZHpwc3Z1dDkweDN1
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