Writer’s note: I would not have been able to experience this performance and reflect on it without the generosity and overall goodness of my close friend Marites. For that, I dedicate this piece to her.
“Some say we’re pro-black, but we professional. We missed a lot of church, so the music is our confessional” -Big Boi on “Aquemini”
In January, when 2014 was still a youngling, Andre 3000 and Big Boi came out of the woodwork, settled whatever differences they had and declared to the world that OutKast was back. When it was announced, it felt like a belated holiday present, kind of like that late gift your Uncle Stu sends in mid-January. The difference is that this announcement was better than any gift card you could have wrestled out of your mailbox. From the very get-go, this tour was meticulously plotted out (OutKast would settle on 40 festivals and events for the year) and triumphantly shared among critics and peers alike. More importantly however is that along with other anniversaries in hip-hop—among them, Nas’ Illmatic and De La Soul’s 3 Feet High and Rising—the return of OutKast reinforced the stern fact that although hip-hop has changed and continues to change, the golden era legends never go away and are surely never forgotten.
Fantasy sports has taken off. Due to the rise in technology and the internet, fantasy sports has not only become unbelievably popular in the United States, but also all around the world. Here at Bonus Cut, we have decided that we would take the concept of fantasy sports and apply it to hip-hop music. Instead of drafting wideouts and running backs, we’ve drafted some of our favorite MC’s and beat makers. The big winner in this situation is you. Not only do we introduce you to some of our favorite hip-hop artists and explain why they are relevant in hip-hop culture, we’ve also laced the Draft with dope tracks for your audio pleasure. With this draft, our goal is to pay tribute to some our favorite hip-hop artists and acknowledge the influence they have had on our lives.
Southern hip-hop very rarely gets its due, and that may be in part because it’s still relatively young compared to other hip-hop regions. The Geto Boys broke the South in the late 80s and early 90s, and 2 Live Crew and UGK helped push the scene even further. However, Southern hip-hop was still a Wild West-like barren land just waiting to be explored. By 1994, the South was making its move, and it was in Atlanta where everything was taking shape.
In comes OutKast, the infamous duo of Andre 3000 and Big Boi, and out comes their 1994 debut Southernplayalisticadillacmuzik, an album ripe with lyrical recognition, groovy bass waves of seduction, turntable scratches and 808 rhythm clapping. A lot of what makes OutKast’s debut accessible is its mechanical sound that mixes East Coast boom-bat alteration and West Coast funk melodies, and on top of this you have two deeply contrasting lyricists with ‘Dre and Big Boi. By mixing unique rhyme sequences and tongue-twirling lyricism, OutKast brought in a true regional representation in record form. Take for instance “Ain’t No Thang”, a verbal onslaught filled with Southern slang like “ya’ll” and “you’se”. It’s here where OutKast shines on their debut, successfully showcasing Southern flare and pride for their city.
More importantly however is some of the subject matter. “Git Up, Git Out” preaches that teenagers should follow their dreams and put the drugs away. Featuring fellow Atlanta natives Goodie Mob, “Git Up, Git Out” is a simplistic yet essential song to the album’s overall message (“I thinkin of better shit to do with my time/ Never smelled aroma of diploma, but I write the deep ass rhymes“). On “Crumblin’ Erb”, OutKast explores black-on-black violence and how that has a negative effect on the African-American and black community as a whole (“Niggas killin’ niggas they don’t understand (that’s the master plan)/ I’m just crumblin’ erb, I’m just crumblin’ erb“). Comparatively, “Funky Ride” reassures us the need to keep calm and take everything in (“Ahh, relax your body next to me/ As I sing this OutKast melody/ On this funky ride/ So just relax baby“).
Southernplayalisticadillacmuzik is essential for its variety. It helped break the Southern hip-hop scene and Atlanta as a true representative for hip-hop, and it pushed for reform regarding social constraints on the black community and violence as a whole. Moreover, it encourages and pushes, and this is all while the Southern plunking of diverse hip-hop sound crashes all over. It may not be OutKast’s best record or most recognized, but when it’s all said and done, it’ll be their most important.
Music is an art form that is ever changing and evolving over time due to things such as creativity, past compositions and advances in technology. These help to push musical genres forward and constantly offer new ideas for aspiring artists looking for their sound. Every now and again, when a group truly discovers their sound, an album is released that changes the landscape of music. From 1994, Southernplayalisticadillacmuzik by OutKast is just that type of record. Released near the end of what is debatably the Golden Age of hip-hop, OutKast’s debut album introduced the world to southern hip-hop with its illustration of life for African-American youth facing the social, economic and racial inequities of post-Civil Rights Era Atlanta, its use of funk and live instrumentation and the rapping styles of Big Boi and Andre 3000.
In the late 80’s and early 90’s, rappers from the East and West Coast were the top dogs, each with their own unique style. The South was somewhat of an untapped resource of talent and experience that had the potential for great hip-hop. This is evident on Southernplayalisticadillacmuzik, as the record presents a different sound with its muggy, slow-cooked grooves on songs such as “Crumblin’ Erb, “Ain’t No Thang,” “Claimin’ True” and “Southernplayalisticadillacmuzik.” Add the flow and ingenious lyricism of Big Boi and Andre 3000 and you have an album twists and turns, creating the desire to dance, nod your head and reflect deeply on your circumstances.
These sensations come out because Southernplayalisticadillacmuzik is about the group’s lives in Atlanta, what they experienced on a daily basis and what they know. There is a lot of pride with regard to the city of Atlanta, the place they call home. They tell stories about drugs, prostitution, gun culture and male braggadocio. There is no attempt to glorify this. Instead, they offer up tracks such “Git Up, Git Out” which are about seizing the day. Additionally, there is an acute awareness to the generational pain of slavery and the repressive nature of the Jim Crow Era. For instance, on the interlude, “Welcome To Atlanta”, we hear a pilot explaining to the passengers, “To the far left, you can see the Georgia Dome, which by the way still flies a Confederate battle flag.” Ultimately with this album, OutKast doesn’t allow the pride of place to get in the way of reflecting on where they came from. Let’s not forget, they do this over tantalizingly smooth beats, piano riffs and the twang of the guitar.
With their debut album, OutKast offered up something different for the hip-hop community to take in. Southernplayalisticadillacmuzik has the funkiness and flavor of the South mixed in with the insightful lyricism of Big Boi and Andre 3000. This record put southern hip-hop on the map and paved the way for many aspiring hip-hop heads born below the Mason-Dixon line. If you’re looking for an old classic that you haven’t heard for a long time or for something you’ve never heard, put this on.
The Mixes is a Bonus Cut series that focuses on themed mixtapes. The purpose of this series is to share music in hip-hop, but also to share the ability to express feelings through mixtapes. The premise takes after Rob Sheffield’s book Love is a Mix Tape, but unlike his book, these mixes will vary in theme. Although I will have notes explaining why I included each song, the overall interpretation of the songs and the mixtape as a whole is on you. Music is fickle because it triggers different emotions, and one of the greatest feelings is determining your thoughts for specific music on your own. Although Bonus Cut provides The Starting Five, a weekly list of songs the creators are currently digging, The Mixes is an individual entity because of its focus on certain themes.
The theme behind this mixtape is that of fulfillment. It’s an ode to the songs that make you breathe and take everything in; it’s an ode to certain tracks that captivate the liveliness of space and illusion; and it’s an ode to those who create masterpieces that impose multiple branches on the tree of a certain song. The “Dreamin’ in Color” mixtape has a lot of themes and variety, but all of the songs are centered on a single track of greatness. Enjoy.
“Down for the Underground” -Lord Finesse
“The same guy gotta maintain my remain fly / That’s here to be, produced and arranged by / Buckwild, Lord Finesse the double-header out to flip cheddar / Stars on the rise like Chris Webber”
Depending on how you listen to the production, Buckwild either reminds you of starry skies or dreams full of Cheshire Cats and the Ace of Hearts. Or, it could remind you of something completely different. “Down for the Underground” is a testament to Buckwild’s skill behind the beats, and to this day he is still underrated. Lord Finesse supplies the track with hard-headed and precise flow, and overall, “Down for the Underground” is that perfect blend of herbs and spices.
“Bluebird” -One Self
“Drinking wine reminds me of what honest is / Making me wonder where the hell the logic is”
As if this track glides on an ice field of groovy bass stabs and twangy guitar riffs, “Bluebird” gives you the feeling of doing anything.
“Gold Soul Theory” -The Underachievers
“Freeze, repeat, rewind, back to the time I was blind / Never, I always incline the Third Eye”
Maybe it’s because this track is soaked with MJ, but “Gold Soul Theory” flies higher than a lot of other new age hip-hop tunes.
“Learn to see me as a brother instead of two distant strangers”
If there’s one thing you should know about Tupac, it’s that despite his changing styles throughout his career, he was always able to succeed as a poet. It wasn’t just his lyricism or his cadence that grabbed the attention of millions, but it was the way he presented himself on each and every track. His attitude is something often overlooked by critics, but in reality this is why he stood out. “Changes” may be one of those tracks you’ve heard too many times, but it perfectly exemplifies Tupac’s grit.
“Yoke the Joker” -Naughty by Nature
“I can snap, rap, pack, click-clack, patter-pat-pat / Take that ass to the point you have to ask for your ass back”
After hearing Treach’s opening verse, this song fully takes you.
“Orbit Brazil” -Flying Lotus
“Orbit Brazil” is Flying Lotus doing what he does best. His composition of blips and beeps mixed with experimental percussion and non-regular patterns is odd but fulfilling. The main synth breakdown is purely a takeoff into the outer reaches of space, and while orbiting over Brazil I’d love to blast this.
“Daddy Fat Sax” -Big Boi
“My daddy told me it was mine for the taking”
The pulsing introduction, Big Boi’s presence, the shrieking background synths, the joy. This song gives you the confidence to do anything. Walk into work or class with this blasting and the results will come.