#Lupe show closer song bb kings how to
I learned in the process how to do it on a macro level. I always love to have triple and quadruple meanings. Is there really a war or was it something that they created to keep the public in check? I injected those really basic structural ideas that were set up in 1984. The second verse is talking about a disease, but there are all these questions about whether the disease is real.
“Streets of Fire” is pulled directly from the pages of 1984 - more the mood of it. It seems like you’ve been getting into sci-fi. I know you drop an allusion to Isaac Asimov on “Go Go Gadget Flow,” and “Streets of Fire” tracks an apocalyptic virus. I took that and implanted them within these stories. The song where they were introduced was “The Pills,” which broke down their physical characteristics. And those initial songs were very direct, especially for The Streets and The Game. A lot of these characters came from previous songs, so it was a matter of putting them in a new light and developing them further. I did, but in my own weird way, via freestyles. It’s more about the risks that we take and the songs that we make. He goes back to the block and is robbed by these two kids (ironically, with the same gun that killed him), and they ask him, “Are you scared to die?” And he replies, “Hustler for death, no heaven for a gangster.” It kind of just ends, that’s it, no real solution. It starts on the first album on “The Cool,” where he digs his way out of the grave. The boy gets set up, killed and he comes back to life as The Cool. The Streets promises the boy worldly acclaim and success, and he becomes a big-time hustler. He’s eventually out of the reach of his mother, and he’s raised by The Game and falls in love with The Streets. The little boy from “He Say, She Say”-which is where his story begins-grows up in a single-parent home without a father. And I wanted to do it in a way that hadn’t been done before, using these three evil muses: The Streets, The Cool and The Game. I wanted to tell the story of street life - the downfalls and calls and temptations of the streets. I wanted to tell a story about the streets I wanted to tell it vividly, and I wanted to tell it supernaturally. Lupe Fiasco: I wanted to tell another story, and I couldn’t really tell it as Lupe Fiasco. Here, Lupe explains the in and outs of his brilliant new album. It’s part Nathaniel Hawthorne, part Jay-Z, and is probably the most experimental hip-hop release of the year. His follow-up, The Cool, is even more ambitious and tracks the arc of a character named The Cool. It was a blast of fresh air and solidified his status as one of his generation’s most promising emcees. His debut full-length, 2006’s Food and Liquor, was a dazzling display of technical acumen, and one of the most humble and honest hip-hop albums in a minute.
It’s not often that an emcees drop names like Picasso, Nietzsche, Basquiat and Cornel West in conversation, but Lupe Fiasco is that dude.
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