A6 Published by Gnat Booty/Chrysalis Music, Inc./Dungeon Ratz Music, Inc./Anyiah's Music/J-Sweet Music/Cory Andrew Publishing Designee (ASCAP) If [I’ve] got a microphone to speak to the world, I wanna express my views on what’s going on around me. We feel that — just like KRS-One said — when you get on this microphone, you have to educate as well as entertain. We feel that responsibility, but not in a preachy way. We’re gonna party with y’all and slip something in there every now and then — maybe a word or a phrase or a question. And you might be like, ‘Damn, I wonder why they said that?’” B5 Published by Gnat Booty/Chrysalis Music, Inc./Dungeon Ratz Music, Inc./Hits From Da Bong Music, adm. BMG Songs Inc./Dez Only 1 (ASCAP) A6. Published by Gnat Booty/Chysalis Music, Inc./Dungeon Ratz Music, Inc./Aniyah's Music/J-Sweet Music/Cory Andrew Publishing Designee (ASCAP)

Lastly, Outkast released an HD version of their music video for “Rosa Parks” today (watch HERE) and last week, “The Way You Move” received the HD treatment as well (watch HERE). A5 Recorded at Stankonia Recording, Atlanta, GA. Mixed for NHP Sound at Stankonia Recording, Atlanta, GA D5. Published by Gnat Booty/Chysalis Music, Inc./Dungeon Ratz Music, Inc. (ASCAP)/Organized Noize Music/Death To The Fakers (BMI) C1 Recorded at Patchwork Recording & Stankonia Recording, Atlanta, GA. Mixed at The Dungeon & Stankonia Recording, Atlanta, GA

11 Issues

D3 Published by Gnat Booty/Chrysalis Music, Inc./Dungeon Ratz Music, Inc. (ASCAP)/Goodie Mob/Chrysalis Music, Inc. (BMI) The hip-hop duo, who formed in 1992 and comprises of members André 3000 and Big Boi, have received six grammy nominations, sold over 25 million records, and more recently, were nominated for the coveted Songwriters Hall award. Outkast has also just uncovered a brand new animated music video for “SpottieOttieDopaliscious.” Watch HERE. An epic 25 years in the making, the visual unfolds as a feast of seventies-inspired funk style, stoned psychedelic space meandering, and inimitable Afrofuturism directed by OK Motion Club. The clip follows its main character through an otherworldly nightlife “fever dream” where even the smallest move makes a big difference on the board…

B4 Recorded at Stankonia Recording, Atlanta, GA. Digital Editing at Stankonia Recording, Atlanta, GA. Mixed at Larrabee Sound, West Hollywood, CA It's funny, layered and (gasp) open minded. One of my favorite things about Outkast is their ability and willingness to approach subjects that are simply "not cool" and in doing so they make such a powerful argument that pop culture is forced to rethink their ill advised preconceptions. I mean let's face it, in the year 2000 Andre becomes a national sex icon and if this album is any evidence of his intentions (ensuring that the sexin' is dope for everyone involved [and shaming those selfish bastards who couldn't be bothered otherwise]) then this is more than a hot pop record. It's aimed directly at pop culture en masse and fires away with bullets of wisdom, kindness and bravado. This is the moment that Outkast begins to prove themselves as great songwriters not just club shakers.

C1. Published by Organized Noize Music/Goodie Mob Music/Chrysalis/Lil' Bree Music (BMI)/Gnat Booty/Chysalis Music, Inc./Slic Flo Music (ASCAP) B1 Recorded at Patchwork Recording & Stankonia Recording, Atlanta, GA. Mixed at Stankonia Recording, Atlanta, GA D1 Published by Carl Mo Muzic/Gnat Booty/Chrysalis Music, Inc./Dungeon Ratz Music, Inc./Curbstone-LAILO Music/Cory Andrews Publishing Designee (ASCAP)/Goodie Mob/Chrysalis Music Inc. (BMI) With success came skeptics who questioned if the group could maintain their synergy. They were something of an odd couple; André’s image was no longer Atlanta Brave jerseys and basketball shorts like in their early music videos, and his fashion-forward attires ― ranging from white wigs to football shoulder pads ― were perceived as extravagant compared to his partner’s effortless, contemporary cool. Differences in appearance and changing lifestyles ― André was no longer eating meat, smoking marijuana, or drinking alcohol ― didn’t affect his musical chemistry with Big Boi at all. Do remember, this is André and Big Boi six years and three albums into their music careers. At 25 years old, the former high school classmates-turned-rap partners were no longer the babyface pupils discovered, groomed, and developed in the early 1990s by Atlanta production trio Organized Noize. The pair entered the year 2000 no longer coming-of-age, but two fully grown men with acclaim from critics, the support of radio, visibility on television, two Platinum albums, and a Grammy nomination for “Rosa Parks,” the lead single off Aquemini. All accomplished without minimizing their Southern individuality in a hip-hop still dominated by rappers from the East and West coasts.

Stankonia was an actual place, though it wasn’t seven light years away from the “B.O.B.” video shoot. After the success of their third album Aquemini, OutKast moved out of the Dungeon. They bought their own studio, the place that had formerly been known as Bobby Brown’s Bosstown, and they spent a year experimenting and tinkering and honing and perfecting, coming up with a sound that was at least a couple light years removed from what everyone else in rap was doing. Rap music had effectively colonized the pop mainstream years before Stankonia arrived, but OutKast saw something else happening — the pop mainstream colonizing rap music. “They’re real comfortable out there right now,” Big Boi told SPIN. “Nobody’s hungry anymore.” OutKast were still hungry. Speakerboxxx/The Love Below, released on September 23rd, 2003, also included historic singles. Both “Hey Ya!” and “The Way You Move” captured #1 on the Billboard Hot 100, while the album itself debuted at #1 on the Billboard 200. It received a rare Diamond-certification from the RIAA and took home “Album of the Year, ” “Best Rap Album, ” and “Best Urban/Alternative Performance” for “Hey Ya!” at the GRAMMY® Awards.

Notes

Founded in 2010 Get On Down has reissued classic Hip-Hop albums spanning the 80s, 90s and 2000s on vinyl, CD, cassette, 7-inch, and as deluxe box sets and limited edition bundles celebrating landmark releases. Get On Down continues to support Hip-Hop culture by releasing and distributing albums by independent Hip-Hop artists and producers from the East Coast to the West Coast and Down South. More recently Get On Down has added funk, soul, and jazz albums that were integral to the foundations of Hip-Hop. Visit www.getondown.com and follow on IG @shopgetondown to get new Hip-Hop releases and limited edition reissues. D1. Published by Carl Mo Muzic/Gnat Booty/Chrysalis Music, Inc./Dungeon Ratz Music, Inc./Curbstone-LAILO Music/Cory Andrews Publishing Designee (ASCAP)/Goodie Mob/Chrysalis Music Inc. (BMI) Now everyone is welcome to any show we do, and we want people of all colors to be there, but it's not fair that promoters are setting it up so only white kids come to the show....Hip-hop was started in the ghetto...it wasn't shows with 600 white kids in college. The passion of being broke and trying to survive in the city - that's what hip-hop is. So if all the fans of that type of music are people who can't relate to the struggle, it becomes fraudulent." Although “B.O.B.” reintroduced OutKast as a group that burned with high voltage urgency, what’s equally impressive is Stankonia’s endurance as an album. The CD version is filled to capacity, and not a second is wasted. Big Boi’s wordy, robust style does not run out of steam. His potent verses are acrobatic performances; from the rapid-fire, Killer Mike and J-Smooth featured “Snappin’ & Trappin’” to the oil sleek “So Fresh, So Clean,” Big doesn’t miss a chance to rhyme like a hungry newcomer. André matches this dirty south tenacity at every turn. Regardless of if he’s rapping, singing, or a combination of both, it’s done with striking gusto.

Their debut was an album bursting with the funk descended from the Isley Brothers, Isaac Hayes, and Curtis Mayfield in a way that was smoother than Dr. Dre’s G-funk stylings, more organic than Puff Daddy’s wholesale sampling of ’80s R&B, and more fluid and adventurous than hometown icon Jermaine Dupri’s sleek soul and pop arrangements. It was the music of Southern hip-hop, the “country rap tunes” pioneered by the late Pimp C, outfitted to a weary worldview that was cautious and specific about local dealings and paranoid about the greater world, but ultimately hopeful on universal levels—or, at least as hopeful as “Crumblin’ Erb” while “niggas killin’ niggas” can be. SONY MUSIC ENTERTAINMENT’S CERTIFIED TO RELEASE OUTKAST’S AQUEMINI 25 TH ANNIVERSARY EDITION& SPEAKERBOXXX/THE LOVE BELOW 20 TH ANNIVERSARY EDITION ON LIMITED VINYL I remember exactly where I was the first time “B.O.B.” hit. It’s not the kind of thing you forget. I remember everything about it — the tingly music-box intro, the whispered count-off, the sudden adrenaline-jamming surge of booming bass and rampaging drums and needling dubbed-out electric guitars, the way that adrenaline surge didn’t let up over the next five minutes. I remember all those sounds and ideas pinging around in my head as I walked across that parking lot. I remember the sunlight reflecting off of the windshields of the cars around me, the faces of the people walking past, the air suddenly tasting a whole lot more vivid in my lungs. It’s all tattooed in there. It’s never leaving. I won’t let it leave.Big Boi's mindset was probably along the lines of that of rap trio The Perceptionists. During an interview with Urb Magazine, the group commented on their mostly white audiences at shows: D3. Published by Gnat Booty/Chysalis Music, Inc./Dungeon Ratz Music, Inc. (ASCAP)/Goodie Mob/Chrysalis Music, Inc. (BMI) With the release of Stankonia, OutKast, despite their ordinary appearance on the cover, were no longer ordinary. They transcended to a superhero notoriety that went beyond hip-hop even though rap was still their medium. I can remember how it felt to grow up right outside of Atlanta, just 20 minute south of the major city, and feel how big they were getting. Their songs were everywhere; coming out of every kind of car, nodding the head of every kind of driver. No ceiling was high enough to contain them.