Outkast Allusions

Outkast, is a southern hip hop duo composed of Andre Benjamin and Antwan Patton, respectively known as their stage names Andre 3000 and Big Boi. The East Point Atlanta, Georgia duo has penetrated black culture with its earthly realism and historical allusions – enabling them to create their own uniquely peculiar lane in the music industry. Aside from their numerous throwback hits such as Hey Ya!, Ms. Jackson, ATLiens, and Roses, Outkast further expressed their afro futuristic artistry within their music videos – associating a deeper and positive egocentric message to their soulful soundtracks.
Many of their music videos, including the videos for ATLiens, Prototype, and Elevators, portrays Andre 3000 and Big Boi as some type of extraterrestrial

creatures from “out of this world” that ,moreover, connects to the history of black culture. For instance, in the music video for ATLiens Outkast incorporated ancient Egyptian Hieroglyphics to synthesize a fictional alien story about “two visionaries, outkasts, not of this world” who landed on earth and led a “band or ragtag followers… perused by forces of evil.” Although in foresight it may appear as if the plot of the video is unrelated to the message of the song however, in actuality it follows a common afro futuristic theme that is present in all of their videos and pertinent to Outkast’s image.
The track ATLiens shows homage to black cultural “down south” living while transmitting a positive message to encouraging listeners to “put [the] glock away” and use the mind as a “stronger weapon.” Furthermore, the correspondence of the songs message and the videos historic allusions is made more apparent when listeners realize lyrics such as “No drugs or alcohol so I can get the signal clear as day” is intended to encourage them to research African history (hint the allusion to ancient Egypt), to avoid “western” corruption of the “black” mind.

Thus, there is a dual message that entices listeners to be “woke” and that proudly portrays their southern heritage that, during the 90’s and early 2000’s, was just beginning to be

recognized.
Prototype, exhibits the same extraterrestrial component as ATLiens, however, its message is different in that it focuses on the rarity of true love.

The video itself illustrates a magical connection between two lovers while successfully avoiding oversexualizing the women. The visual effects in the video, such as zooming in on the woman’s face and blurring the background objects epitomizes the purity of love instead of lust, which is typically objectified in the music industry. Perhaps, the futuristic visual of Andre 3000 as an alien was also intended to depict love in its purist form by showing love from the perspective of an outsider. Doing so inspires listeners to be brought “back to this world,” get “back on the right track,” and not fall victim to trending infidelity and lust that society

exemplifies.
The most iconic part of Outkast’s video for Elevators was at the end when a small group of black children ran from the jungle to a desert filled with pyramids. Interestingly, the desert had aliens roaming around the pyramids and suddenly Andre 3000 and Big Boi’s eyes turned green as if the aliens were signaling them to come home; as if the desert and pyramids represented the promise land. Again, Outkast’s reference to the Egyptian pyramids alluded to the black community’s origin in Africa. The children running to the pyramids can be representative of black folks “moving on up in the world like elevators” and claiming their worth.
Like the video for ATLiens the video for Elevators uplifts the black community and encourages the community to educate themselves on black history so that “Me and you, your momma and your cousin too” can elevate beyond the limitations of western society while still recognizing that “we done come a long way like them slim-ass cigarettes from Virginia.”
Moreover, as a side note, Erykah Badu (who is actually mother of Andre 3000’s son, Seven) is another afro futurist artist who artistically enlightens the black community with witty allusions. For example, her music video for Don’t Cha Know can be enlightenedly interpreted as an allusion to the forty days and forty nights that Jesus spent in the desert seeking direction from God. The video shows Erykah, dressed in what seems like some sort of space suit, walking through an empty desert. Eventually, she comes across a crater filled with water and then she appears rising out of the water look up to the sky.
The song itself is immensely relatable and openly discusses the uncertainty about the world while trying to find purpose and direction. The songs message assures listeners that it’s okay if we “never know how the cards may lay” and that it’s okay because we “[were] born to make mistakes.” Furthermore, she assures listeners that “Love is life and life is free” and if we “free [our] mind[s] and find [our] way, there will be a brighter day.” This message aligns with the aesthetics of her video because as she walk’s lost in the desert she illustrates how she “stumble off the path” yet trusted that “[her heart will guide [her] back” and then she is seen rising out of the water at peace testifying that hard times get better.
Although Erykah Badu and Outkast are only three afro futurism artist, many other musicians and soul singers that share the same artistry, convey inspirational messages in similar ways while praising the beauty and history of blackness. Janelle Monae, another afro futurism artist, unapologetically empowers black women, specifically, in her Song Q.U.E.E.N. Both the songs and the videos from these artists elicit separate messages but together those messages combine to formulate an even greater message that positively defines black culture as a magical exquisite.