Alternative Rappers?
Another way that Outkast challenged notions of authenticity was through their defiance towards conceptions of performative blackness within Hip Hop. Here, I will use E. Patrick Johnson’s framework, as well as how authenticity is constructed based on sound, look and feel in tandem, to illustrate how OutKast resisted this limited view of Hip Hop legitimacy (Grazian).
Perceptions of performative blackness connected to sound, look and feel stem from urban inner-city ghetto life that included a specific image of blackness, dialect as reflected in rap lyrics, and clothing styles that contribute to the feel of Hip Hop as a cultural system (Grazian). Many lyrics that shaped Hip Hop narratives, especially for male rappers, were connected to machismo and hyper-masculine verbiage. As a result, this became the ways in which black male identity connected to Hip Hop were constructed and ultimately understood. Male rappers who called women bitches and hoes who also spoke of gangs, violence and sexual bravado, while bragging about their economic prosperity in their lyrics created the black male rapper stereotype that became a measurement for authentic performative blackness within Hip Hop. And male rappers who existed outside of these norms were often seen as soft, weak, gay and inauthentic because they did not represent the black, male narrative constructed by Hip Hop heads to confirm legitimacy. OutKast challenged this construction by expanding their lyrical pallet to discuss various matters that were impacting their generation beyond these limited lyrical tropes including: abortion, veganism, getting married, foreign policy, racism, generational antagonisms, and suicide. When discussing the variation in their lyrics, Alex Abramovich states, “Nor were the group's lyrics typical: They tend to shy away from the misogyny and violence rap is so often (and not always unjustly) condemned for (Abramovich).” Instead of rapping lyrics that were not indicative of their experience as black males in Hip Hop culture to legitimize themselves, OutKast spoke of other important topics that were central to their cultural and generational identity. Although they were met with resistance as a result, they never altered the ways in which they communicated their story lyrically to their fans. For example, in one of their most introspective songs, “13th Floor/Growing Old,” Andre raps, “I bet you never heard of a playa with no game Told the truth to get what I want, but shot it with no shame Take this music dead serious while others entertain I see they're making their paper so I guess I can't complain (OutKast)” These lyrics detail how Andre is comfortable in the fact that he tells the truth in his lyrics and that he carries “no shame” for being so honest, despite knowing that it goes against what was expected of him. Further, he describes how his music is extremely important and goes beyond entertainment; another indicator that the lyrics he writes and ultimately performs is created with a conscious to ensure that he also brings forth more than just lyrics that educate as well as entertain. Indeed, Andre further challenges rappers in this verse who do focus more on making money, therefore, falling into the tropes and lyrical expectations to be financially viable and accepted as legitimate. Referencing a “playa with no game” suggests that anyone can play or be a player or in this case, be a rapper. However, having no game (another word for the music industry), is another way of saying one cannot go beyond what has already been constructed and expected …show more content…
Instead, they treated their clothing as an extension of the unorthodox artistic style to showcase another kind of black dress; one that placed fluidity in dress and style, which many heads referred to as alternative, but nonetheless accepted because OutKast was conjuring up the very essence of Hip Hop itself; to resist and be authentic to one’s self. Many think pieces and constant debates emerged around the OutKast style of dress that questioned if they were weirdos, on drugs or losing their minds. Still, OutKast never conformed and eventually their visual aesthetic became a new way to not only resist limited ideals about what Hip Hop looks like on the body, but more rappers including Goodie Mobb, Common and Mos Def emulated their
Another way that Outkast challenged notions of authenticity was through their defiance towards conceptions of performative blackness within Hip Hop. Here, I will use E. Patrick Johnson’s framework, as well as how authenticity is constructed based on sound, look and feel in tandem, to illustrate how OutKast resisted this limited view of Hip Hop legitimacy (Grazian).
Perceptions of performative blackness connected to sound, look and feel stem from urban inner-city ghetto life that included a specific image of blackness, dialect as reflected in rap lyrics, and clothing styles that contribute to the feel of Hip Hop as a cultural system (Grazian). Many lyrics that shaped Hip Hop narratives, especially for male rappers, were connected to machismo and hyper-masculine verbiage. As a result, this became the ways in which black male identity connected to Hip Hop were constructed and ultimately understood. Male rappers who called women bitches and hoes who also spoke of gangs, violence and sexual bravado, while bragging about their economic prosperity in their lyrics created the black male rapper stereotype that became a measurement for authentic performative blackness within Hip Hop. And male rappers who existed outside of these norms were often seen as soft, weak, gay and inauthentic because they did not represent the black, male narrative constructed by Hip Hop heads to confirm legitimacy. OutKast challenged this construction by expanding their lyrical pallet to discuss various matters that were impacting their generation beyond these limited lyrical tropes including: abortion, veganism, getting married, foreign policy, racism, generational antagonisms, and suicide. When discussing the variation in their lyrics, Alex Abramovich states, “Nor were the group's lyrics typical: They tend to shy away from the misogyny and violence rap is so often (and not always unjustly) condemned for (Abramovich).” Instead of rapping lyrics that were not indicative of their experience as black males in Hip Hop culture to legitimize themselves, OutKast spoke of other important topics that were central to their cultural and generational identity. Although they were met with resistance as a result, they never altered the ways in which they communicated their story lyrically to their fans. For example, in one of their most introspective songs, “13th Floor/Growing Old,” Andre raps, “I bet you never heard of a playa with no game Told the truth to get what I want, but shot it with no shame Take this music dead serious while others entertain I see they're making their paper so I guess I can't complain (OutKast)” These lyrics detail how Andre is comfortable in the fact that he tells the truth in his lyrics and that he carries “no shame” for being so honest, despite knowing that it goes against what was expected of him. Further, he describes how his music is extremely important and goes beyond entertainment; another indicator that the lyrics he writes and ultimately performs is created with a conscious to ensure that he also brings forth more than just lyrics that educate as well as entertain. Indeed, Andre further challenges rappers in this verse who do focus more on making money, therefore, falling into the tropes and lyrical expectations to be financially viable and accepted as legitimate. Referencing a “playa with no game” suggests that anyone can play or be a player or in this case, be a rapper. However, having no game (another word for the music industry), is another way of saying one cannot go beyond what has already been constructed and expected …show more content…
Instead, they treated their clothing as an extension of the unorthodox artistic style to showcase another kind of black dress; one that placed fluidity in dress and style, which many heads referred to as alternative, but nonetheless accepted because OutKast was conjuring up the very essence of Hip Hop itself; to resist and be authentic to one’s self. Many think pieces and constant debates emerged around the OutKast style of dress that questioned if they were weirdos, on drugs or losing their minds. Still, OutKast never conformed and eventually their visual aesthetic became a new way to not only resist limited ideals about what Hip Hop looks like on the body, but more rappers including Goodie Mobb, Common and Mos Def emulated their