Complex

***Complex*** was founded by fashion designer Marc Ecko as a bi-monthly magazine. It eventually grew as a media and entertainment company for youth culture. American rapper Lupe Fiasco was featured on the cover of their 2008 issue, promoting his sophomore album *The Cool*. In 2011, as part of April Fool's, they declared that Fiasco left Atlantic Records and signed with Maybach Music Group.

## Interviews

### 2010

**Complex: How did the Japanese Cartoon EP come about?**

Lupe Fiasco: Well, I've always been a fan of all music. My favorite songs aren't hip-hop songs, they're songs from Queen like "Somebody To Love." Hip-hop is just something I actually know how to do. But I always had aspirations to participate in other forms of music. Once I got to create some hip-hop, it was like, "Okay, what am I going to do now?" So my artistic side was like, "Yo, let's do some rock music."

The true inspiration for Japanese Cartoon is the band Joy Division. You ever watch footage of Joy Division singing? [Joy Division's lead singer] Ian Curtis is like a straight nerd. And he [doesn't look] like the rock and roll type. But when he got on stage, he became a completely different animal, like he was having a seizure on stage. When he was performing he just threw himself into the performance, but when he came off stage he was a mild-mannered person. Japanese Cartoon is like a tribute to Joy Division and Ian Curtis.

And it actually came about quite secondhand. I was actually writing songs to hopefully present to Matthew Santos, who was working on his album at the time. It was kinda like my two cents. And it was good. It wasn't great by any measure, and it wasn't terrible by any measure. But it was just weird. The creative process for me to create that type of music, I had to put myself in a whole other zone. I only felt comfortable doing it in a British accent or some other kind of subdued version of my own voice. Simply because I don't like to hear myself sing. So to get comfortable [hearing myself sing], I sang in another accent.

I still don't know how to play any instruments. But the guy in the studio, Graham Burris, did. But we didn't have a drum set, so he had to beat-box the drums. And he could play the bass, so he played a bassline on one song. And that's how you get [the song] "ARMY."

Then it went from making songs for Matthew to being its own thing. Like, "this is Japanese Cartoon." With me singing in a fake British accent with this motley crew of guest engineers and guest studio musicians to play on this record by request. So that's the band. And over time as we did more records, I got more comfortable hearing my own voice so the accent started to go away. On songs like, "Crowd Participation" and "You Are Here," I'm not using the accent. Those are songs later in the recording process, [when] I'd stopped using the accent. But I felt it would have been an injustice to go back and re-sing all the songs. I felt that people should get the whole Japanese Cartoon experience as it was.

So anyway, my stepfather who is true-blue British—and this is another reason I keep throwing out the British, because I want to somehow rightfully say I can use a fake British accent since I have British family members who are white, a part of the punk scene, and working for EMI. My stepfather was a studio engineer for EMI and he knows The Ruts—or at least the surviving members—and I sent him the music with the British accent. The Ruts [are] very similar to The Clash, but mostly fixated in Europe. They're my favorite punk rock band. I like them more than Sex Pistols. The response that came back from The Ruts was, "Why isn't it more aggressive?" and "Can we come over and play with you guys?" So I got this acceptance from a lot of musicians and people that I looked up to. So instead of them giving me the thumbs down or, "Nah, I think you should do something else," which is what I got from my record company, I got this motivation to do it. So once I got that, nobody couldn't tell me nothing. It was the same reaffirmation I got when I first came into the music business—I rapped for Jay-Z, and Jay-Z was like, "You're nice." So I got the same reaffirmation doing Japanese Cartoon.

**Complex: When the public first heard about Japanese Cartoon, you denied being in the group. What was that about?**

Lupe Fiasco: What that was, I didn't know if I really wanted to do it. I set up a Myspace page, and this was when I was like, "Aaight, I want to put it out but I don't want to promote it through Lupe Fiasco." I didn't want it to be viewed as a Lupe Fiasco side project. I wanted it to be like, "Here's this band out of nowhere." [That way] I can get an honest opinion. I didn't want to get, "Man I like Lupe, but that's wack because he's not rapping," or a "Lupe, everything he do is dope!" I wanted a true reaction to it.

What happened was Busy—who works at Atlantic and is a part of me becoming who I am today—put the link to the Myspace page on his blog. And the kid who runs the Lupe blog just happened to check it out by chance and he was like, "That sounds like Lupe!" And it was a wrap from there. And me denying it was me just like, "Nah, that ain't me. I'm not British." But it didn't work. They was like, "Nah, that's you." But then you had people who were like, "Man, I'm telling you that ain't Lupe!"

For me, it was an ill piece to the band with the anonymity because I was denying it and why would I deny it? But it was more so because it wasn't finished and I didn't really know if I wanted to do it and I didn't want it to be presented to the world in that controversial way. I just wanted it to come out and people got on to it and one day we did a show and I come out like, "Oh my God! It's Lupe!" I would have preferred to have that than have an Internet scandal. This is one of the downsides of having a fanatic fanbase that I love so much.

It just came out from two sources that came out that were dedicated to Lupe. Busy's blog, they know he's my man and he's a part of my crew. And they did it from the official source of all things Lupe Fiasco. And it was kind of like, "Yeah, that's Lupe." And I was like, "That's not me!" And they was like, "Yeah, it's you." Now I'm like, "Yeah, it's me."

**Complex: So what is Japanese Cartoon?**

Lupe Fiasco: Japanese Cartoon is my lifeblood. That was my Plan B. If Lupe Fiasco fails and *Lasers* never comes out, I have to do something. I still have to make music. I still have to go out and tour. I want to make music as good as Radiohead, as good as Coldplay. I can make hip-hop as good as anybody. But you get bored with that and you want new challenges. And for me, this is a new challenge.

**Complex: You mentioned Japanese Cartoon being your Plan B, let's talk about Plan A. A second ago, you said "If *Lasers* never comes out." Will it not come out?**

Lupe Fiasco: It could. The situation with me and my record company has gotten to the point where it's just like... we're really at our final straws. People could say it's me, that "Lupe doesn't want to make popular music" or "The label has got to have records that they can sell and Lupe is not giving them the records they want to sell" and XYZ. I'll meet a fan on the street and we'll have a full conversation about it. There's maybe six or seven people walking around who know the whole story with their mouths wide open and their jaws to the floor as to why *Lasers* has been held up to this point and why it's not coming out. I can't tell you that. We're in a space where we're still negotiating and some stuff isn't meant for the public.

**Complex: Do you see the record coming out any time soon?**

Lupe Fiasco: God willing. I literally put it in God's hands. You know what, *Lasers* is a record I poured my heart into. I was actually making my own music, in the studio making the songs, and rapping on them. And at the same time, making the music more acceptable. Not making it more poppy, but making it more popular. Putting it in the position where more people can understand it but at the same time still satisfy my hardcore fanbase.

**Complex: Like the people behind the petition?**

Lupe Fiasco: Right. That fanbase who wants to hear stuff they can't even understand, who like puzzles. But at the same time, I felt like I was doing myself a disservice by having all of this stuff that I wanted to say that I thought was right to the people who are the scholars, the Cornel Wests of the world, but it was getting lost in translation. So I was like, "I'm going to make it untranslated." And give you the message in the raw and hopefully you'll pick it up. To me, I found that medium and I was happy with it. But the market forces were not. And then the fixers, they weren't happy with the fixers either. So, God willing. Until then... Japanese Cartoon.

**Complex: As far as putting out stuff to the fans, why not just go on the mixtape circuit and give your fans something to go on?**

Lupe Fiasco: I think it burns you out. I had this conversation with Kanye when we were doing the CRS project: I don't like to do a bunch of records just to do it. I want every record to have a purpose and mean something. I don't want to do it to satisfy some perceived demand. If you give into everybody's demands, then what are you left with? I always came into the music business saying, "It's 50% me and it's 50% y'all." So let me make my 50% and then you can have it. I didn't want to get caught up in the "put out a mixtape every month" because I think it cheapens you as an artist. I ain't even gonna front, I think it cheapens your work.

People are happy, fans are cool, some people aren't cool. But I'm not doing it for the Internet dudes on the message boards who don't like nothing. Who are always comparing you to somebody else. I'm not doing this for you to have one more piece to play in your game of "this rapper is better than this rapper." I'm not in competition with nobody. I want to make good music for my fans who want it, who enjoy it, who learn something from it. And that's what it is.

And in this instance, *Lasers* has been done for two and a half years. I was ready to give it to you two and a half years ago. The reason I did *Enemy of the State* was out of desperation. Releasing these records now is out of *desperation*. This isn't out of my feeling like, "Oh man, I got to satisfy my fans." And this isn't coming from some artsy place. These are acts of desperation. I don't want to do desperate acts, I want to make music because I want to make music.

**Complex: You keep referring to it as *Lasers*, but on the Internet now people are saying the record could be called *Food and Liquor II: The Great American Rap Album*. Is that not a real title?**

Lupe Fiasco: When I said that I was going to do an album called *The Great American Rap Album*, I did it. *Lasers* is one project.

**Complex: So you have two albums already done?**

Lupe Fiasco: Yeah. I make music every day. [*Laughs*.] Half of the next Japanese Cartoon record is done. When I say Lasers has been done for two and a half years, what do you think I've been doing since then? I've been sitting back and making more music. I get beats every day from every producer. People want me to feature on their songs, and favors for favors, and all this other craziness. *Lasers* is one project on its own. It's its own project, sitting being done, waiting to be released. And I'm in talks with doing the record after this one. So I'm constantly creating. But that doesn't mean I'm constantly releasing.

**Complex: A number of songs have been out from you in the past 12 months like "I'm Beaming," "Shining Down," and "What You Want." Are those songs from *Lasers* or *The Great American Rap Album*?**

Lupe Fiasco: Everything that has leaked between "Paris, Tokyo" and "Go To Sleep" was for *Lasers*. "Go To Sleep" is *Food and Liquor II*. [It was released] simply because I was in the position where I wanted to put out some music. Nothing was officially released off *Lasers*. Nothing. Not "Shining Down," not "What You Want," not "I'm Beaming." Everything that came off of *Lasers* was leaked or stolen. We didn't put out anything. The reason the songs are iTunes and we shot videos for them is because we felt like we're going to lose these records. It's like we paid $80,000 to $120,000 dollars for this record. If we gonna pay that much we might as well follow though instead of letting it get lost on the Internet. Our hands were forced.

We felt like half the album is out in the midst of finishing it. So it's like, we're not feeling to put out any records. For what? A record to beat the record we already got out? It doesn't make any sense. If the record leaked, then we're going to chase it. I'm not happy about it, but so be it. In the midst of all that you get this stalemate with the record company. And it's like, "Well I got to do something."

So out of desperation, you get "Go To Sleep," which is a record from the next record. *Lasers* is its own project, it is its own sound, its own mood. *Food and Liquor II* is completely different. So I don't want to keep just dropping records. To be honest with you, if I could just stop I would stop. If I could just stop and let everything clear the air and let everything settle, then I would literally stop. But it's just my movement has so much momentum and it's so self-fulfilling sometimes that even when I do stop, it keeps going on without me.

**Complex: Are you now actively pursuing the release of *Food and Liquor II*?**

Lupe Fiasco: Nah. People were saying they wanted a Lupe record, so here's a Lupe record, from me, not some dude leaking it. Like, "Here's a good, solid, Lupe Fiasco record that's official and that's from me, that I like, that you'll like, and I'm gonna shoot a video for." You can treat it as an underground record, as a mixtape record, as a no-single, as a first single. I don't really care. I'm not trying to dictate what I want that song to be. But it's my first act of control in the last two and a half years.

Just to summarize, *Lasers* has been done for two and a half years. I started on another album after that, with features on it and all types of craziness. But everything was supposed to be in time. What messed up the schedule when *Lasers* didn't come out when it was supposed to. So you get this backlog. And then *Lasers* kinda prematurely leaked out because of all these songs leaking. It's kind of like an unclear moment of what Lupe Fiasco album-wise is going to be. So I would just say stay tuned. Don't believe anything unless I tell you. Please don't believe anything anybody says unless I say it from my official Twitter page or my official UStream page. I'm like one of three people who actually know what's going on. In the meantime, we're going back on tour. We'll see you guys out there on stage. There might a Japanese Cartoon tour coming up too.

**Complex: But don't you want to release *Lasers*? You made the album because you wanted to make it, right?**

Lupe Fiasco: To be 100% honest, if it comes out, it comes out, if it doesn't, it doesn't. It's not going to affect me either way. That doesn't mean I don't like hip-hop, that don't mean I don't want to be a rapper. It just means that I know what everybody else doesn't know about that album. I know the dark side of that album. Nobody else knows the story. It's a dark, deep, twisted, *nasty* story that people lost their jobs for.

It's like *Lasers*, that's one album that got disrupted in the business process. It's a great album, but that album may not come out. But here's *Food and Liquor II*. So what's going to make you happy? What's truly going to make the people happy? I'm giving you another album. I'm already past it. I'm not sitting around, "Oh man, I want *Lasers*. Why don't they put out my songs?" Crying. For what? You go in and put out another record. And that's what I did.

If God wills it to be, we'll be talking about *Food and Liquor II*. And if *Food and Liquor II* doesn't come out, we'll be talking about *Food and Liquor III*. [*Laughs*.] If *Food and Liquor III* doesn't come out, we'll be talking about *Food and Liquor IV*. If that doesn't come out, we'll put out *The Cool II*, *The Cool III*. I'm never going to stop.

I love music. I'm never going to stop making music. I just did a whole punk rock album. So when the business overshadows the music, then I'm done. And I'ma step away from that, which is what happened to *Lasers*. All people see is music. It's a music business. The music is beautiful and great. I love to perform it, and I love to go around the world, and I love to sing it and say it. But I hate to pick up my phone when I get off stage to talk about the music *business*!

I hate to be looked at as the villain. I can't control my perception to the public but I try not to be a villain. My greatest fault is that I refuse to backbite others and put others on front street to the public. Because if I did that, I would be justified and vindicated with everything that I'm saying. But I'll be doing myself a personal injustice in something I don't believe in. If somebody wants to come to the plate and talk about the stuff that they're doing behind the scenes as to why XYZ isn't happening, then so be it. But I'm not going to put people on front street. That's why I don't do dis records or any stupidness like that. I'd rather to talk to somebody personally, and if they still motivated enough to tell the public what's going, then so be it. If not, then I'll take the L, publicly. And I don't mind taking the L. I don't really care.

**Complex: Earlier, when speaking on Japanese Cartoon, you used the phrase, "If Lupe failed." Has Lupe failed?**

Lupe Fiasco: I don't know. How do you define success?

**Complex: How do you define it?**

Lupe Fiasco: No, how do you define success? Am I arguably one of the best rappers in the world? Do I am have a massive, rabid fanbase? Do I have a Grammy? Do I have multiple Grammy nominations? Yes. Am I constantly on tour? What else can I say that could be a measure of success? How many Ferraris do I have? Do I have my own clothing line? Yes. Am I respected by every *single* noteworthy artist, rapper, producer in the game?

**Complex: On the flip side, do you have an album out?**

Lupe Fiasco: Whoa, whoa, whoa. See, that's even greater. Even with me without having an album out, am I still in the public consciousness?

**Complex: Yes, but for how long?**

Lupe Fiasco: Whoa, hold on. Wait, wait, wait. Are you doing an interview with Lupe Fiasco right now? "Who doesn't have an album out" about an album that's not out? What does that say?

I'll [give] you a definition of what people say success is. People say Jay-Z is successful. Why is Jay-Z successful? Because he has his own clothing line, he has a collection of Ferraris, because he's worth millions of dollars. Because he has connections to everybody around the world, he goes on fantastic vacations, and he sits front row at the Louis Vuitton fashion shows. I do that too.

Now let's talk about rapping. Is Lupe Fiasco not revered? Did Jay-Z not stop his show because at *his* show there was a girl wearing a "Hip-Hop Saved My Life" T-shirt in the front row? So he stopped his show to point out that I was standing at the booth and said, "That's one of the greatest writers of our time." And that's Jay-Z. You could do that with Kanye, Pharrell, and Drake, who called me a legend in my own city. And that's Drake, he's way bigger than I am. So let's look at that.

Then let's go to our garages because we want to go out to the club. What are you driving? You're driving a Benz or something. Let me take this Ferrari I'm gonna drive today. And that's not to boast. That's to show people, what is success? And I don't even care about the cars. I drive them to the grocery store. I drive them to the masjid to make salah. I don't care about none of that. All of that material success and what people quantify as being successful means nothing to me. I'm satisfied, I'm happy. My family, my friends, and everybody is happy. I'm at the best time of my life. It's Ramadan. But people always want to bog it down with "success."

Success is a very dangerous thing and I think we have to be very careful about when we dictate what success is for somebody else. Because you don't know what it's like. I'm happy with two albums. You may not be good with two albums, but who are you to tell me to put out three albums? I can tell you, "Man, you need to quit *Complex* and go work for *Rolling Stone*. But who am I to tell you that? If you feel comfortable, and you feel happy, and successful at your job, then that's success. You define that as success, then that's success. Success is not a general thing. It's a personal thing. It's a personal attribute.

So let's look at success is for me. When Jay-Z told me I was nice when I was 19, I was done. That was success for me. I didn't want much. Little kid from the hood who wanted to be a rapper, my idol at the time told me I was nice. I was done. And I used to say that to people, "Listen, Jay-Z says I'm nice, so I don't need to rap for you. I'm good." [*Laughs*.] I don't really care about the five mics, I don't care about the XXL ratings—not the magazines, I mean the ratings. I don't care about *Pitchfork*'s 8.1 or 6.2 or whatever, *The Rolling Stone*'s five stars or four stars. Jay-Z said I was nice, so as a rapper I'm good. *And* I'm better than you. *And* I can really rap. And you'll even say that I'm better than you. And just when you think that I'm not... go to sleep!

### 2011

"The Show Goes On"
There's nothing really to tell about that record, to be honest. I didn't have nothing to do with that record. That was the label's record. That wasn't like I knew the producer or knew the writer or anything like that. That was one of those records the record company gave me, [they even gave me] stuff they wanted me to rap about. It wasn't like, 'Hey I did this and I went to a mountain and found inspiration and it was this.' [Last April] I was backstage at a show at the House of Blues in L.A. and the president of [Atlantic Records] came to me and said, 'Hey check this out, I got this song.' He played 'Show Goes On' for me on the iPod. I was used to it because they presented me like ten other songs in the same fashion or via email. So for me, at that point, it was just another record like, 'Is this a song you want me to do?' There was nothing special about it for me at that point. It was like, 'You know we still want off the label, right?' That was the conversations we were having.

Why He Hates *Lasers*
One thing I try to stress about this project is, I love and hate this album. I listen to it and I'll like some of the songs. But when I think about what it took to actually get the record together and everything that I went through on this record—which is something I can't separate—I hate this album. A lot of the songs that are on the album, I'm kinda neutral to. Not that I don't like them, or that I hate them, it's just I know the process that went behind it. I know the sneaky business deal that went down behind this song, or the artist or singer or songwriter who wrote this hook and didn't want to give me this song in the first place. So when I have that kind of knowledge behind it, I'm just kind of neutral to it like, 'Another day, another dollar.' As opposed something like The Cool, which is more of my own blood, sweat, and tears, and my own control. With this record, I'm little bit more neutral as to the love for the record.

The [fans] came and put their lives on the line in some instances—because you never know what could happen, it could have been a stampede. I look at that as very inspiring and motivational. That was one of the only reasons the label got on the phone and wanted to have that meeting, they seen the outpouring of support and the critique that was beginning to mobilize via the Internet. CNN, MTV, and *Village Voice* was picking up the story of the protest and actually interviewing the kids and the kids was speaking their piece. And it wasn't the most glorifying things that they were saying. I think that, as well as the pressure of the business itself, where it was at a point like, 'Look, Lupe is not going to come into the building at all.' It was periods of stalemate where I wasn't going into Atlantic Records. I had nothing against the average employees—a lot of those people are my friends—but the executive attitude was something I did not like.

"Words I Never Said"
The first day I heard it, I went into the studio and recorded it. The song had a bridge we took out because initially, the song was supposed to be about a relationship, like a boyfriend/girlfriend, Drake song or something. And I'm like, 'Nah, I'm going to talk about world affairs.'

"Out of My Head"
There's 'Never Forget You' [featuring John Legend] —which is another record I had nothing to do with— which became another bargaining chip, like, 'Yo, after 'Show Goes On' there's going to be this other record that you had nothing to do with.

### 2012

**You were rocking a leather jacket with a dope camo lining inside the hood last night, who makes it?**

That was Takahiro Kuraishi.

**The collaboration with Takahiro Miyashita of Number (N)ine and The Soloist?**

Yeah. He did a collaboration with Kazuki Kuraishi from Phenom, and Creative Director for Adidas Japan. He was like, Hiroshi Fujiwara's right-hand man. He started a line with Takahiro, so they do The Soloist and Takahiro Kuraishi, which is more outerwear.

**Do you favor Japanese designers?**

Yeah, I think moreso Yohji Yamamoto, when it comes to overall Japanese fashion, it would have to be Yohji. But then Junya Watanabe, then Rei Kawakubo, and probably Mihara Yasuhiro. There's a brand called Kiryu, I don't know the designer, but that's like high-fashion.

Then you come into streetwear and urban wear: I like Kazuki Kuraishi, then SKATE THING, and Big O. On down to Tet, Neighborhood, and even down to BAPE.

**You mentioned your love for Yohji, and pretty much every other piece you're wearing is Y-3. You're also rocking some heavy jewelry, who makes them?**

The rings are Hysteric Glamour and Chrome Hearts.

**Are you a fan of Chrome Hearts?**

Yeah, I think Chrome Hearts is the new luxury. I think when we look at luxury, we're still stuck in the Louis Vuitton, Gucci, Hermés kind of world — which to me is old luxury.

**And on the other hand, you have items like the Comme des Garcons champion rings…**

Yeah. When you get into what is gonna be the new luxury for today, it's Chrome Hearts. The extravagance of it, the materials, the silhouettes that they make — it's all new. The other stuff hearkens back to the Victorian age — it doesn't speak to me.

**Do you think Japanese designers will be the focus of the future?**

I think it's gonna progress in this world. You see it in things like Rick Owens. You see the influence of Yohji, particularly, over everything. But, you trace Yohji back to Vivienne Westwood. A majority of Japanese designers, even Neighborhood, even Nigo, even BAPE, all come from Vivienne Westwood.

If you look at that being the prototype of it, it's just one big cycle, feeding off each other. Now you see a lot of the Japanese stuff influencing everything from streetwear on down. The most prized streetwear is Japanese streetwear, still to this day.

Shit made in Japan is dope, because the quality's there. Look at things like Converse Japan and Levi's Japan, what they make is way doper than what Converse America or Levi's America makes.

**Having traveled a lot, do you think your style has a sort of global perspective?**

There are certain pieces like rastafarian hats, which are definitely from that world, my affinity with Yohji — I'll wear anything Yohji makes, be it Yohji or Y-3, and that's Japanese. But at the same time too, I like motorcycle jakcets and jean jackets too, and those are American.

**The other day I saw a camo motorcycle jacket from your collection Overthrow, sold at Don C.'s RSVP Gallery, can you tell us about that brand?**

There's Trilly & Truly, which is the main brand, and there's Overthrow, which is all leather goods. I'm trying to feed off the Chrome Hearts energy, so to speak.

**What about your Vans collaboration from last year? What influences went into that?**

I love vintage sports cars. So for that one particular collaboration, I just took the Ferrari F40 and was like "take this, and make this a shoe." And the other side was wanting to use different prints, wordly prints that I think don't get much shine that speak to a heritage of something other than western. More indigenous societies, cultures, and stuff like that. So we did a piece called the Native Tongues, where we took different pieces of cloth from different tribes and civilizations and made it into the tongue of the shoe.

I also needed something technical that I could perform in. I kept pushing that. All the little things that happen on stage — it needs to be entertaining and have a level of showmanship to it. That was the aspect I was most involved in, from the tech side, to the breathability side, to the appearance, but it all has to be functional.

**You were named Vans OTW advocate recently, but it seems you've been rocking their shoes for years. How natural did the relationship with the company feel?**

I was wearing more Vans than any other shoe, and I have thousands of shoes. I was wearing them just everyday — out of simplicity, ease of wear, and pricepoint. I feel bad wearing Lanvins and destroying them, but with Vans I don't really care.

I've worked with shoe brands before. I've worked with Reebok, Adidas, and even Y-3. I've always been in and out of that world of being a brand advocate, but this was a little bit easier because it was like "I'm *already* doing it." Even if we weren't building a relationship together, I would still be wearing them. You could just come to a show and shoot me performing and I'd be in some Vans.

**What's your favorite pair?**

My most remembered pair are Vans Syndicates. Some Sk8-His that I was actually skating in. That was my first lesson in like "maybe I shouldn't skate in these." They were more a fashion shoe, and I put two big ollie holes in the side. I was like "Oh well." But those are my most remembered pair.

**So do you plan on continuing to explore the technical side of shoemaking for Vans, or put your own aesthetic taste into the shoes?**

As an artist, I need them to make a shoe that I can wear on stage, that works for me on a functional level, less about fashion. It should be fashionable, but at the first point, it should be functional. That's been something that I've been pressing on them since the beginning of our relationship. It's like "we need to focus on this, because I think it's something that'd be revolutionary."

**What kind of advice do you have for guys that aspire to be stylish?**

I think you should wear what makes you feel good. Wear what you feel comfortable in. That's it.

## References

1. ↑ "Lupe Fiasco | N.E.R.D. x Complex Magazine". *Hypebeast*. August 1, 2008.
2. ↑ Ahmed, Insanul (April 1, 2011). "Lupe Fiasco Parts Ways with Atlantic Records, Signs with Maybach Music Group". *Complex*.
3. ↑ Ahmed, Insanul (September 10, 2010). "Interview: Lupe Fiasco Talks "Lasers" Delay, Japanese Cartoon, and "Food & Liquor II"". *Complex*.
4. ↑ Ahmed, Insanul (February 28, 2011). "Interview: Lupe Fiasco Hates His Own Album". *Complex*.
5. ↑ DeLeon, Jian (January 19, 2012). "Interview: Lupe Fiasco Talks Style, Japanese Designers, Vans OTW & "The New Luxury"". *Complex*.