You’re seated at the new three star French restaurant everyone’s been talking about, your hot date sitting across the table. The wine is flowing freely. You order the roasted chicken with heirloom tomatoes and when it arrives the chicken is moist, the skin is roasted crisply and while the tomatoes are a touch soggy, overall it’s a perfectly nice dinner. As you exit the restaurant happily, your date in your arm, you mention the soggy tomatoes to the waiter: “I shouldn’t be telling you this,” he whispers, “but we ran out of fresh tomatoes. We pulled yours from the dumpster.”
Food, film, music, they’re all completely subjective art forms, and how we experience them depends in large part on context. So if you have no idea about the circumstances surrounding Lupe Fiasco’s third album Lasers, you might want to stop reading now. I’m only going to dirty the purity of your listening experience. But for those of us who know about Atlantic Record’s refusal to release the album, the fan uprising, Lupe’s admission that he compromised the musical integrity he seemingly holds so dear (“Whatever. Another song, another day, another dollar.”) there can be no unknowing, and those who claim some sort of objective analysis are naïve at best and delusional at worst.
Food, film, music, they’re all completely subjective art forms, and how we experience them depends in large part on context. So if you have no idea about the circumstances surrounding Lupe Fiasco’s third album Lasers, you might want to stop reading now. I’m only going to dirty the purity of your listening experience. But for those of us who know about Atlantic Record’s refusal to release the album, the fan uprising, Lupe’s admission that he compromised the musical integrity he seemingly holds so dear (“Whatever. Another song, another day, another dollar.”) there can be no unknowing, and those who claim some sort of objective analysis are naïve at best and delusional at worst.

