Lyrics explaination thread

[Blackplatano]

So I was listening to some tracks, and I realized that we need a thread discussing the meaning of the music we listen to so we can appreciate the true meaning of it.

I'll start first

Lupe fiasco's "Dumb it Down"

VIDEO

[]I'm fearless, Now hear this, I'm earless

[And I'm peerless

^i basically take from this line that he's not afraid to do HIM, the reason he's earless is because he's not listening to the critics telling him to change up his **** to fit in, "peerless" is a play on words, peer means to "seewhich and also your peers as in other rappers...he feels like he stands alone in this game and he doesnt "see" nor hear the critics of his complex lyricism

[Which means I'm tearless

]Which means my iris resides where my ears is

Which means I'm blinded

]But I'mma find it I can feel it's nearness

]But I'mma veer so I don't come near

this carries over from the "peerless" train of thought, he will cry no tears over people criticizing...his iris resides where is ears are, meaning that he really SEES thru music, so thats the only thing that matters to him at this point, as for whats near...i believe he means his dreams of being "that nigg.a" as far as emceeing goes, he knows that he's one step away from "blowing"...but he doesnt, because his artistic convictions wont change just to get a check..which is why he "veers" away from a more mainstream message and possibly a successful career by doing so

But I remember I'm not a listener or a seer so my windshield smear

Here, you steer, I really shouldn't be behind this, clearly cause my blindness

The windshield is minstrel, the whole grill is roadkill

so trill and so sincere. Yeah, I'm both them there

again refering to not seeing or hearing, he doesnt want to "steer" this vehicle of commericial rap because he doesnt feel comfortable..."here you steer", you do THAT, thats not my LANE...the windshield is minstrel = the game makes us out to be bafoons and walking steryotypes, the game as it is now seems to be killing everything in it's path and he doesnt want to be apart of that...offering the steering wheel up to someone else

so trill and so sincere, yea i'm both them there = he's too true to himself to skew his message for sales

Took both pills, when a bloke in a trench coat and the locs in the chair had approached him here

And he clear as a ghost, or a biter of the throats in the mirror

The writer of the quotes for the ghosts who supplier of the notes to the living

taking both "pills" is a matrix refrence, taking both would allow you to be "in the matrix" and still know the truth, that the matrix or the rap game is all lies, he knows this and still continues to participate when most would just quit

clear as a ghost or a biter of the throats in the mirror (vampires have no reflection) = he may say things in a complicated way but if you look you will always find the true purpose of his music, supplying notes to the living is wordplay, he's a ghostwritter

Riveting is rosy, pockets full of posies, given to the mother of the deceased. Awaken at war, 'til I'm restin' in peace

The last part is a reference to rosie the riveter. Once I realized the last line made sense.

Discuss whatever other lyrics you want.

[brightbill]

I was waiting for the (8) or so after this thread - since when does shitty, obscure references make you a decent lyricist? What the FUCK does "the whole grill is roadkill" do? Take up space? Same for half the other lines?

p.s. - peerless could pertain to peer (to look around keenly)

[jackierose]

superman dat hoe

when you ejaculate on a girls back then put a blanket on her so when she stands up the blanket sticks therefore making her look like she has a cape.

superman dat hoe everyday.

thank you urban dictionary.

[brightbill]

Similarly:

robocoppppp

1. ejaculte into a metal bucket, put the bucket on a woman's head

2. buy lavins

[dino might]

scatman john-

"ima scat mannnnnnnnnn weeee bopbop bodop bum, bopbop bodop bum"

scat man? like, hes a feces man?

meatloaf-

"i would do anything for love, but i wont do that"

do what?

[NESK]

if someone paraphrases crank dat in bold text, i will lose my fucking soul.

[Slub]

Anyone read Chuck Klosterman's book, "Killing Yourself to Live"? In it he goes into how he thinks the whole of the Kid A album predicts the events of 9/11.

Here it is, apologies for the length but its a good read...

"The more I played it, the more this connection became real. And it keeps getting more and more symbolic, and the imagery becomes more and more lucid, no matter how often I listen. There are those who made similar points about Wilco's Yankee Hotel Foxtrot, primarily because that album includes songs with titles like "Ashes of American Flags" and "War on War." However, that record also has songs about watching KISS cover bands and raking the leaves. Kid A has no gaps in logic, perhaps because its logic is never overt; it almost seems like a musical storyboard for that particular day. I played it compulsively for an entire year. At this point, I am certain Kid A is the official soundtrack for September 11, 2001, even though it was released on October 3, 2000. The first song on Kid A paints the Manhattan skyline at 8:00 A.M. on Tuesday morning; the song is titled, "Everything in Its Right Place." People woke up that day "sucking on a lemon," because that's what life normally feels like on the Manhattan subway; the city is a beautiful, sour, sarcastic place. We soon move to song two, which is the title track. It is the sound of woozy, ephemeral normalcy. It is the sound of Jonny Greenwood playing an Ondes Martenot, an instrument best remembered for it's use in the Star Trek theme song. You can imagine humans walking to work, riding elevators, getting off the e train and the 3 train, and thinking about a future that wi1l be a lot like the present, only better. The term Kid A is Yorke's moniker for the first cloned human, which he (only half jokingly) suspects may already exist. The consciously misguided message is this: Science is the answer. Technology solves everything because technology is invulnerable. And this is what almost everyone in America thought at around 8:30 A.M. But something happens three and a half minutes into Kid A. It suddenly doesn't feel right, and you don't exactly know why. This is followed by track three, "The National Anthem." This is when the first plane slams into the north tower at 470 mph. "The National Anthem" sounds a bit like a Morphine song. It's a completely different direction from the first two songs on Kid A, and it's confusing; it's chaotic. "What’s going on?" the lyrics ask. "What’s going on?" It gets crazier and crazier, until the second plane hits the second tower (at 9:03 A.M. in reality and at 3:42 in the song). For a moment, things are somber. But then it gets more anarchic. Which leads into track four, "How to Disappear Completely." This is the point where it feels like the world is possibly ending. People try to convince themselves that they are not there. People keep repeating, "This isn't happening." People are "floating" (read: falling) to the earth. We are told of strobe lights and blown speakers; there are fireworks and hurricanes. This is a song about being burned alive and jumping out of windows, and this is a song about having to watch those things happen. And it's followed by an instrumental piece without melody ("Treefingers"), because what can you say when skyscrapers collapse? All you can do is stare at them with your hand over your mouth. Time passes. It's afternoon. Kid A's side two, if you have it on vinyl. Action is replaced by thought. The song is "Optimistic," a word that becomes more meaningful in its absence. It has lyrics about Ground Zero ("vultures circle the dead"), and it offers a glimpse into how Al Qaeda members think Americans perceive international diplomacy ("the big fish eat the little ones, the big fish eat the little ones/ Not my problem, give me some"). Track seven, "In Limbo," is about how the United States has been shaken out of its fantasy, with "nowhere to hide," finding only "trap doors that open, I spiral down." Now we're at "Idioteque," where it's "women and children first." Survivors slowly conclude, "I'm alive." Unlike "How to Disappear," "Idioteque" offers the first moment of acceptance: We concede, "this is really happening." We wonder "who's in a bunker" across the ocean, trying to murder us for working in a 1l0-story office building? Yorke says, "We’re not scaremongering," yet some of us already are; there is an "ice age coming, ice age coming." In "Morning Bell," a shell-shocked nation becomes uncharacteristically compassionate (" Everyone wants to become a friend"), but there is no way to deal with loss: On "Motion Picture Soundtrack," Thom sings, "Red wine and sleeping pills/ Help me get back to your arms." Suddenly, everyone needs Vicodin. Everyone needs to drink more merlot. We fill our void with cheap sex and sad films, and, baby, we think we're crazy. But there is no answer to the question of reality, except the faith that there is something greater than this world, which is how Kid A ends: "I will see you in the next life. "

[Blackplatano]

OK...I edited my first post.

I listened to the track a couple more times and got some things I missed.

Then I checked my PMs and somebody sent me the above interpretation which I copy and pasted.

I agree with it...but there's still 2 more verses lol