Great interview once again from Tavis.


Tavis: First of all, an honor to meet you, Lupe.

Lupe Fiasco: Oh, appreciate it, sir. Thank you, thank you, thank you.

Tavis: I'm glad to have you here. I was saying to you before we came on the air that one of my dear friends, Dr. Cornel West, and I have had so many dialogues about you. This guy loves you. And he's the one who turned me on to you, quite frankly.

Fiasco: Yeah, he's responsible for the title of the disc, actually.

Tavis: In what way? "The Cool?"

Fiasco: Me, my mother, and aunt all went to go see you guys speak in, like, 2004 in Chicago.

Tavis: You were in the audience that night?

Fiasco: Yeah.

Tavis: On the Pass the Mic tour.

Fiasco: Yeah.

Tavis: Wow.

Fiasco: And he said - somebody asked him, he said, "What's the solution?" And he said, "Well, I think one solution is we have to make it hip to be square. We have to make it cool. The things that are cool, we have to make them uncool." And I was thinking, like, hey. And that has become, like, my modus operandi in my music, to kind of transform the cool things into the uncool.

Tavis: Well I'm sure Doc will be honored to hear that. When I got the CD, before I popped it in, Lupe, as I typically do, I opened it up, pulled the wrapper off of it, opened it up, pulled out the - you know - and started checking it out. It looks - and people at home, of course, can't see this - but it looks much darker. The artwork, the color, the design. I didn't know what to expect, but I thought it was going to be dark. Once I popped it in, the music for me didn't necessarily match the look of the CD. Is that just me, or?

Fiasco: No, no, no. It comes from two places. It's a dark album in some aspects where the subject matter of it is dark. So even if you look through songs like "Superstar," songs like I want to say, "Fighter," songs like "Intruder Alert" that are on the album, the concepts are very dark. The music may be very mainstream or it may be very kind of poppy, almost, in some aspects.

But the subject matter, such as "Intruder Alert," it's about rape. And then there's another - the third verse is about immigration and the second verse is about drug abuse. But it's put on these kind of bright, kind of almost, like, happy, kind of music beds to just kind of - so it sneaks past. So it sneaks on to radio.

Because I think if I kind of matched the music with the actual subject matter, then it would be dark. But it would close a lot of doors. So that's kind of my little sneaky espionage a little bit.

Tavis: Okay. (Laughter) You explained it, I get it now. Because what I was hearing - and you explained it better than I ever could, obviously. Since it's your CD, you should be able to do that. But what I was hearing didn't match the cover. But I guess the only thing I would say to your comment about the lyrical content being dark is that I think it's courageous.

This album reminds me of a Marvin Gaye, "What's Going On," it reminds me of a Stevie Wonder, "Inner Visions." It reminds me of those concept records that had something to say about the issues of the day. Was that the intent here?

Fiasco: Yeah, definitely. The actual concept of "The Cool" is from a song on my first album called "The Cool," which is about a hustler who gets killed and he comes back to life and digs his way out of his own grave, and it goes, like, into this whole kind of thriller almost kind of scene. And so I kind of reinvented the character on this album, and it's actually played by Kadeem Hardison, and if you look closely, "The Cool" character - what's up, Kadeem? - from "A Different World."

Tavis: A different world, yeah.

Fiasco: And I surrounded him from different other characters, The Streets and The Game, and they're actually, like, kind of like physical incarnations of what it is to be cool or what is street life. What is the game? What is caught up in the game? Okay, what does the game look like? So I kind of gave them all, like, walking, talking, I gave them physical characteristics and kind of told a lot of stories through them.

So I told the story of what happens to the child who grows up in a fatherless home in the Black community? Oh, it may turn out to be that he's this hustler. Or let's tell the story of AIDS. And we tell that story through this character. So it's almost like AIDS is one of her physical attributes. So it's complex as far as, like, concepting, but in execution, it comes out very basic.

Tavis: How do you take, to your point, though, Lupe, how do you take a concept that is complex, a concept that is challenging, put it on a record where it sounds good, where it sneaks its way, as you might put it, onto radio, and yet it doesn't come across as being preachy. Because if you do that, that is the death of you, as you well know.

Fiasco: I try to remain unbiased. I try and tell the story for what it is. I'm trying to just present the facts. And I'm very conscious of not using the facts that originate from a bias, whether it's racism or classism or elitism or whatever. I try and just use the very basic human social kind of things and then present them. And so it doesn't come off - to some it does come off preachy, because it's, like, so much.

It's like oh, why you keep telling us this? And then it'll be, like, well, I'm not telling you anything. It's really just this character. The song isn't even about me. It's really this character talking. But it's not that hard, I've been practicing for about four or five years to kind of get it right.

Tavis: I mentioned earlier Marvin Gaye and Stevie Wonder in terms of the concept, in terms of a record that's actually saying something over some pretty tight beats. But I think I read somewhere, Marvin and Stevie notwithstanding, that you, like, were a Pink Floyd fan back in the day? Did I get that right?

Fiasco: Yeah.

Tavis: I'm trying to square Lupe Fiasco and Pink Floyd.

Fiasco: I think that's all due to my father, rest in peace. He was very eclectic in a lot of ways in life - the Black Panther party over here, an African drummer and karate expert. And one of his things was music; he had a wide selection of music. So since I was a little boy I was always privy to Ravi Shankar. So my first musical experiences were Tchaikovsky and Beethoven and the soundtrack to "Star Wars," and then the soundtrack to "Rocky."

And then it was like oh, here's this "Foreigner." And then it's like oh, here's a little "Public Enemy." Oh, and NWA. So it was a mishmash as far as how I was introduced to music, so I got a lot of influences.

Tavis: How has that impacted your art form and what you do, your style?

Fiasco: Makes it very easy for me to go and acquire other genres of music, certain particulars of them, and bring them into my music, and make it work. So it's easy for me to go get, like, the song called "Hello, Goodbye" on the album, which is a straight rock record. It was actually - the music bed was actually on a rock album. And went and was, like, yeah, I could rap other. So it's being able to articulate that and see the similarities between hip hop and techno and jazz and everything else, and being able to kind of bridge them together.

Tavis: You're from Chicago.

Fiasco: Chi-town.

Tavis: Chi-town. What are they serving y'all? What are they drinking in Chicago? What's in the water? We all know Chicago's a great city, and so many great artists - I'm not even going to start running the list, but so many great artists over the years have come out of Chicago.

But Chicago over the last decade has had another renaissance of sorts. Kanye is from Chicago and you're from Chicago and Common is from Chicago and Jennifer Hudson's from Chicago, if you want to go that route. Something's happening in Chicago with music and your generation. What is it?

Fiasco: I think it's like the cycle. Because even if you go back earlier, you have stuff like Chess Records, and the soul movement was really big news. Whole record companies in Chicago. Then that kind of faded out and it went to New York and L.A. or what have you. I just think the cycle came back around and was, like, Chicago.

Because a few years ago it was Atlanta. And Atlanta started to taper off a little. Actually, it was, like, New York, and then New York (unintelligible) then it was L.A. Then it was New York again. Then it was, like, Atlanta. And then it was, like, oh, Chicago. So I think it's just Chicago's turn.

Tavis: Yeah. Well, y'all are representing, that's for sure.

Fiasco: Appreciate it.

Tavis: What for you distinguishes you from the other persons in the game right now? What makes your sound? I circle now back to Dr. West. You have become one of those names now when intellectuals or those deep into the music want to make a point about what's unusual, about what's eclectic, about what's different, about what we ought to be listening to.

You're on that list now with Talib and Common and Lupe. You've made that - you know what I'm saying?

Fiasco: Right.

Tavis: You've made that list of people say, here's what you need to be checking out. Here's a brother you need to be exposed to. What is it about your music that puts you on that list of persons who are talented but different from so much of the mainstream of hip hop?

Fiasco: I think it's a very conscious attempt to go left. To first understand that music has an effect on people, and what you put out there definitely has an effect on people and you become a role model, people really take what comes out of the box, the glorious TV box. People take that stuff seriously. So with me, like, oh man, I've got to be responsible with what I say, so that's one element.

And then, like, kind of understanding, like not wanting to be with everybody else. That you want to have your own spotlight. And so every time I would - like I was mentored by Jay-Z and kind of mentored by some of the same people that are almost the exact opposite. And the dialogue that we would have would be, go left. He would tell me go left.

Don't chase radio. Don't do it. And it's like Jay-Z, are you serious? And he's like, "Yeah." And to have that reinforcement from him along with all my little weird quirks and idiosyncrasies and things of that nature and knowledge, and it was just like oh, yeah. So it was easy. It's like, came out, what are you doing? You doing a record about booty shaking? I'm doing a record about skateboarding. And it's going to be just as good and just as critically acclaimed. And it works.

Tavis: Well, his quirks and idiosyncrasies are, in fact, working, and thank goodness they are. His name is Lupe Fiasco. His new CD is "The Cool," a name that you will remember, and a name that may be coming up in just a few weeks from now with that Grammy nomination. Congrats on that.

Fiasco: Yeah, yeah. Yeah.

Tavis: You and Jill.

Fiasco: Appreciate it, sir.

Tavis: Talented artist.

Fiasco: Thank you. Yeah, she's the voice of our generation.

Tavis: Yeah, that she is. Powerful sister. But you hold it down yourself, though.

Fiasco: Appreciate it, sir. Thank you.

Tavis: Nice to have you. An honor to have you on here. Lupe Fiasco, the new CD, "The Cool." That's our show for tonight.



This is why i say people can dictate "mainstream" as opposed to just going with the flow and being someone like "soulja boy". BET and any Radio should be shut down for playing that shit, what happend to that movement that started the day after Don Imus's Ho comment? it went away cause people caved in. The funny thing is that "Mainstream" is not bad, you can make it whatever, but being "mainstreamed" is where we are now.

Everytime I think Im done with hip hop. Someone like Lupe comes around and brings back that passion I used to have with it. His albums are classic joints, and its a shame that he still doesnt get that mainstream publicity he so richely deserves.

Intruder Alert is on some old 2Pac Brendas Gotta Baby shit..brings back that same kind of emotion.

I love Lupe. Im pissed hes playing in Vegas next Friday, I leave that afternoon

Thanks for posting this. Sorry I missed the airing. Love this album. Have not taken it out of my car since it dropped.

yeah he's really good, and the thing that kills me is shows like "tavis" should be on major networks 24/7 talking to cats like this or just anyone not in the "mold", but since its not we have what we have today.

lastdecember said:

co-sign, and not just that but he comes on @ like 11 or 12 @ night - he needs to be on in the afternoon like oprah and everyone. but rant aside, it was a beautiful interview - i'm glad i stayed up to see it. lupe is a very talented and intellingent dude, i need to get the album (i got the edited version for xmas ugghh) and see him live
[Edited 1/10/08 17:21pm]

I really like Lupe, but recently, he's been saying some really stupid shit. He's also become kinda arrogant. The whole incident at the VH1 Hip Honors cost him some respect points with true hip hop fans