Three-Ring Look at Rap’s Playful Side

Lions and tigers . . . and rappers, oh my!

It’s almost cliched to write about the “circus-like” atmosphere surrounding certain rap concerts--be it Public Enemy’s highly theatrical and politicalized shows, the chaotic feel of the Wu-Tang Clan’s large entourage milling about or the threat of violence that sometimes shadows gangsta rappers.

But how many rappers have performed at an actual circus, with elephants, clowns, acrobats and those rows upon rows of wide-eyed children?

Wyclef Jean, leader of the Fugees, brought all these diverse cultural images together Saturday at the Pond of Anaheim when he joined with the Ringling Bros. and Barnum & Bailey circus as a guest ringmaster and performer.

It was less a publicity stunt to promote the Wyclef’s new hit solo album, “The Carnival,” than it was to show both parents and young kids a jubilant side of hip-hop culture that’s seldom seen nowadays--especially at a time when the No. 1 single in the nation for two months, Sean “Puffy” Combs’ “I’ll Be Missing You,” is a poignant reflection on the slaying of his best friend, rapper Notorious B.I.G.

“When I think of the carnival concept, I think of it as a place to escape all of your problems,” Wyclef said in an interview backstage. “I wish there was a circus in every ‘hood.”

Moments before, the wiry musician had been out on the circus floor, delighting the crowd by standing on his hands, practicing back flips and performing minor trapeze.

“It’s good to show the kids that you’re one of them, and I thought it would be cool to try to relive a part of my childhood,” he said, looking at the the hundreds of kids walking around the floor of the venue during a pre-circus segment called “Three-Ring Adventure” that allowed the youngsters to try on costumes or bounce on a bungee-cord extension.

Moments later, the house lights dimmed and “The Greatest Show on Earth” began in earnest. In the role of guest ringmaster, he attempted to lead the crowd in the old Cab Calloway chant “Hi-De-Ho,” but the youngsters just didn’t understand and sat there puzzled.

But there were no other loose ends. Fans of all ages were wowed by Mark Oliver Gebel’s work with Bengal tigers and awed by the incredible body strength and agility of the acrobats who form the Golden Pyramid.

Then came Wyclef’s turn as a rapper.

The twentysomething performer was given a grand entrance. Wearing a sparkling gold lame top hat and a bright, multicolor overcoat, he entered the ring riding an elephant and accompanied by a procession that included virtually the entire circus cast, clowns to cyclists.

Walking up to the top of a skate ramp, Wyclef picked a guitar and approached the microphone, where he dedicated his performance to the late Tupac Shakur and the Notorious B.I.G. He then played a stirring version of James Weldon Johnson’s “Lift Every Voice and Sing,” virtually entirely with his teeth a la Jimi Hendrix.

It was a remarkable demonstration of making a serious political point without spoiling the innocence and fun of the evening.

From that point on, it was the Rufugee Camp and Barnum & Bailey circus. Wyclef did nothing different than he had when he tours the world with the Fugees. And his eclectic nature fit the occasion like it had been specially designed for it--whether it was rapping in Spanish, Japanese or French, or getting the crowd to follow his lead and do John Travolta poses while he bounded through his customized version of the Bee Gees’ “Stayin’ Alive.”

It was a memorable night--one in which, however briefly, the controversy and contradictions clouding the public perception of rap music were lifted.