Airplanes (feat. Hayley Williams of Paramore)

"Airplanes" is a deeply introspective and melancholic song that explores the themes of nostalgia, the burdens of fame, and a profound longing for a simpler, more authentic past. The core message revolves around the disillusionment that can accompany success. B.o.B's verses paint a picture of a life that, from the outside, appears glamorous but is internally fraught with pressure, superficiality, and loneliness. He reminisces about a time "before this was a job, before I got paid," highlighting a desire to return to the purity of creating art for its own sake, rather than for commercial relevance.

The chorus, sung by Hayley Williams, serves as the emotional anchor. The central metaphor, "Can we pretend that airplanes in the night sky are like shooting stars?", is a powerful expression of desperation and hope. In a world where genuine moments of magic (like seeing a shooting star) feel rare, the narrator is willing to project that sense of wonder and wish-fulfillment onto something as mundane as an airplane. It signifies a deep need for a wish, a chance to escape or turn back time. The song captures the universal feeling of looking back on one's life and grappling with the choices made, wondering what might have been if a different path had been taken. It's a commentary on the loss of innocence that often comes with achieving one's dreams and the subsequent desire to reconnect with one's roots and original passions.

The song opens with a poignant and imaginative question, wondering if the airplanes streaking across the night sky could be wished upon like shooting stars. This central theme of longing and wishing for a different reality is carried by Hayley Williams' emotive chorus, which expresses a desperate need for a wish to come true in that very moment.

B.o.B's verses delve into the source of this yearning. He reflects on the overwhelming nature of his newfound fame, describing the endless cycle of parties, the superficiality of glamour and fashion, and the chaos that surrounds his life. He speaks of a profound loneliness that follows, a feeling of isolation when the phone stops ringing and the hype fades. It's a candid look at the downside of success, where the initial thrill gives way to a hollow feeling. He portrays this journey as a high-stakes game, where you get another chance after a loss, but the constant pressure and uncertainty are palpable. In a moment of desperation, he addresses an airplane directly, as if pleading with it not to leave him behind, symbolizing his fear of missing his chance or losing his way. It's a promise to himself and the world that despite setbacks, he will persist and keep striving.

The second verse is a journey back in time, a nostalgic reminiscence of his life before music became a career. He longs for the days before paychecks and bank balances defined his worth, when he was just a kid trying to get by, riding the subway. He misses the purity of creating music for the sheer love of it, for "the hell of it," as he puts it. Now, the act of rapping is tied to the pressure of staying relevant in the competitive "rap game." He laments the politics of the music industry and wishes he could return to the raw, unfiltered passion that initially inspired him. He gives a shout-out to his hometown, Decatur, representing a desire to reconnect with his roots and the person he was before he became the public figure "B.o.B." The song is a powerful expression of wanting to escape the complexities of his current life and rediscover the simple, authentic joy that first sparked his musical dreams.

The creation of "Airplanes" has a noteworthy history, involving several artists and some industry politics. The song's chorus and musical foundation were written by Jeremy "Kinetics" Dussolliet and Tim "One Love" Sommers, two students from Cornell University. The track was co-produced by Alex da Kid and DJ Frank E. B.o.B (Bobby Simmons Jr.) wrote his own rap verses for the song.

Interestingly, the song was initially intended for Lupe Fiasco, who had even recorded a version with Hayley Williams' vocals. However, due to issues with his label and publishing rights, Lupe Fiasco passed on the song, and it was subsequently given to B.o.B. Hayley Williams became involved after she was sent the track while on tour with Paramore. She loved her part and agreed to the feature, despite her and B.o.B never having met in person. In fact, they recorded their parts separately and didn't meet until they performed the song live for the first time at the 2010 MTV Video Music Awards.

There is also a sequel, "Airplanes, Part II," which features an additional verse from Eminem. This version's beat was actually the original instrumental created by Alex da Kid. A misunderstanding led to the creation of two versions; B.o.B's team was reportedly told that Eminem would not be available to shoot a music video, so they created a version without him to serve as the lead single.

The rhyme and rhythm of "Airplanes" are crafted to support its narrative and emotional tone. B.o.B.'s verses largely utilize a conversational, free-flowing rhythm that is characteristic of narrative rap. The rhyme scheme is not strictly rigid, favoring a more natural-sounding delivery over complex patterns, which helps to emphasize the storytelling aspect of the lyrics. He makes use of end rhymes (e.g., "paid"/"subway," "madness"/"blackness") and internal rhymes to maintain lyrical cohesion and flow.

The tempo is moderate, creating a contemplative mood that aligns with the song's introspective themes. The rhythm of the rap verses is juxtaposed with the more melodic, soaring rhythm of Hayley Williams' chorus. This rhythmic shift helps to elevate the emotional intensity of the hook, making it a memorable and anthemic centerpiece of the song. The underlying beat, driven by a hip-hop drum pattern and a simple, repetitive piano chord progression, provides a steady, almost hypnotic foundation that grounds both the rap and sung sections.

"Airplanes" blends distinct musical and literary styles to create its emotional impact.

• Musical Fusion: The song is a prime example of genre-blending, combining B.o.B's hip-hop verses with a pop-rock chorus delivered by Hayley Williams. The production features a prominent piano melody, orchestral strings that add emotional depth, a solid drum machine beat, and synthesizers for a modern texture, creating a soundscape that is both melancholic and commercially appealing.
• Narrative Voice and Flashback: B.o.B employs a confessional, first-person narrative style, making the lyrical content feel personal and authentic. He uses flashback in the second verse ("somebody take me back to the days / Before this was a job, before I got paid") to create a stark contrast between his past and present, which is a key structural and thematic device.
• Vocal Delivery: The contrast in vocal styles is a crucial technique. B.o.B's rap flow is smooth and conversational, conveying a sense of weary reflection. Hayley Williams' vocals on the hook are powerful, soaring, and filled with a sense of longing, providing a powerful emotional release that punctuates the introspective verses.
• Simile and Personification: The song's most famous line, "Can we pretend that airplanes in the night sky are like shooting stars?" is a simile that forms the core of the song's theme. Additionally, B.o.B uses personification when he apologizes to the airplane ("airplane, airplane, sorry I'm late"), treating it as a conscious entity he is trying to catch up with, enhancing the feeling of a race against time.

"Airplanes" was a massive commercial success and had a significant cultural impact upon its release in 2010. The song peaked at number two on the US Billboard Hot 100 and reached number one in the UK and New Zealand. It became a staple on radio playlists and was one of the defining songs of that year, eventually being ranked as the #6 song on Billboard's 2010 Year-End Chart. The song was certified multi-platinum in several countries and has sold over 4 million digital copies in the US alone.

Its sequel, "Airplanes, Part II," featuring Eminem, also garnered significant attention and received a Grammy nomination for Best Pop Collaboration with Vocals. The song's iconic chorus, particularly the line "Can we pretend that airplanes in the night sky are like shooting stars?", became a widely quoted and memorable lyric of the 2010s, often used, sometimes mockingly, to evoke a sense of "deep" youthful poetry and nostalgia. The song was featured in the trailer for the film Charlie St. Cloud and appeared in the video game Just Dance 3. It marked a high point in B.o.B's career and is remembered as a classic example of the era's successful blending of hip-hop and pop-rock.

The song's central and most powerful symbol is the airplane itself.

• Airplanes as Shooting Stars: The primary metaphor is explicitly stated in the chorus: "Can we pretend that airplanes in the night sky are like shooting stars?". Shooting stars are traditionally objects upon which people make wishes, representing hope, magic, and rare opportunities. By wishing on airplanes—man-made, common, and mundane objects—the song highlights a sense of desperation and a loss of natural wonder. It suggests a world so consumed by the artificial that one must find magic in the mundane. It also symbolizes a desire for a quick, tangible response to a wish, as airplanes are constantly present and moving forward, unlike distant stars whose light is from the past.
• The Airplane as a Vehicle of Success and Escape: The airplane also symbolizes the journey of the artist's career. In the line "So airplane, airplane, sorry I'm late / I'm on my way so don't close that gate," the airplane represents the fleeting opportunity for success that B.o.B is chasing. Missing it would mean falling behind, but he's determined to catch another "flight" and keep striving. It embodies both the literal travel required by his job and the metaphorical vehicle of his ambition.
• The Blackness: When B.o.B raps, "There comes a time where you fade to the blackness," it symbolizes loneliness, emptiness, and the dark side of fame that exists behind the "glitz and the glam.". It's the void that appears after the party ends and the pandemonium subsides.

The most significant recurring element in "Airplanes" is the chorus itself, which functions as a powerful, memorable hook and a central motif.

• The "Airplanes as Shooting Stars" Motif: The phrase "Can we pretend that airplanes in the night sky are like shooting stars?" is repeated multiple times throughout the song. Its recurrence drills home the central theme of wishing for escape and a return to simplicity. Each repetition, delivered by Hayley Williams, reinforces the deep sense of longing and melancholy that defines the track.
• The "Wish Right Now" Phrase: The immediate follow-up, "I could really use a wish right now," is also heavily repeated, emphasizing the urgency and desperation of the narrator's emotional state. It's not a vague hope for the future but a pressing, immediate need for change or relief.
• The Motif of Looking Back: The idea of returning to the past is a recurring lyrical motif. Phrases like "go back to a place much simpler than this" and "take me back to the days" anchor the song's narrative in nostalgia and regret. This backward glance contrasts with the forward motion implied by the "airplane" and highlights the internal conflict between ambition and the desire for authenticity.