Identity and location-and defining and observing the two on their own terms-have always been key with OutKast. Big Boi exhaled smoke and lamented, “Niggas ain’t even from the A-Town.” On the intro to Stankonia-their fourth album, a thrill-pushing auricular splattering of mindfunks and ideascapes-they mimicked those copying them by playfully reinterpreting the Atlanta “bounce” that had been spreading as the distraction of babies. after having been out of vogue for years. They had emerged from southwest Atlanta with styles that were unforeseen, but quickly copied-the Kangol hats they wore in the video for “Southernplayalisticadillacmuzik” were soon seen atop the domes of Sean “Diddy” Combs and the Notorious B.I.G. They were André “3000” Benjamin and Antwan “ Big Boi” Patton, but they went by an increasing array of colorful names-like Possum Aloysius Jenkins and Daddy Fat Sax-which seemed to exist only to expand minds and expectations while capturing the ideas that emanated from their craniums. They always had chips on their shoulders, a grievance born of their distinctive authorship mixed with the civic pride of scrappy underdogs.
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