OutKast | Part II

OutKast | Part II

Interview & Photography by Sarah J. Edwards

Here's the second part of our OutKast interview from their cover feature from our sold out print edition. 


Sarah: I’m going to go on to the film now, we saw it by the way and really enjoyed it. I saw it at 10am, so it was really a sort of amazing way to start a day. [Both André and Big get really excited and gesture as if winning a prize] So, I wanted to find out how much input you had, I know that Bryan Barber wrote and directed it, but it just felt like you probably had a lot of involvement in it.
André: We didn’t have anything to do with the script, honestly. But like the original ideas came from two video treatments. We’ve always been behind the scenes pretty much writing the treatment going to a director and saying ‘Ok, how can we do this?’ You know, so, I think some of our sensibility and our taste is going to come through, because we were a part of the beginning of it. It just so happens, well, Bryan, he’s a professional at what he does, he went to school for it. He’s taken writing classes and all that type of stuff. Like, we don’t know nothing about no writing a script too tough. So, you know, he took the original ideas and killed it. I mean, it’s probably just a touch of style that we normally do in there.
Sarah: And then him knowing you as well.
André: Oh yeah.

Sarah: I wanted to talk through different elements, the costume was really amazing. Was it all specifically designed?
Big: I guess for that time period, you’d bring a certain type of class back, but it was great. They had original pieces from the ‘30s in there as well as having Giorgio Armani come in and tailor-make suits for us, for the movie.
Sarah: I know, they looked really good, hand-sewn and really fitted with the era.
André: Gotta give a shout out to
Ralph Lauren.
Big: Ralph Lauren and Giorgio Armani stayed down. As a matter of fact, Shawn Barton the stylist still got some of my own personal footwear and hats, so I need to get that back. I’ve been asking him for that shit for a minute, he gonna put that shit on ebay.

Sarah: The choreography was great inside ‘Soap Church’ and the tap dance scene, which I thought was brilliant.
André: Thank you.
Sarah: I saw that that was Hinton Battle.
André: Hinton Battle, he taught me how to tap dance in two weeks.
Big: He did?
André: Yeah. I mean, it wasn’t like I was out there really killin’ it. I went out and bought some tap shoes too.
Big: How much did you have to do a day, about a couple of hours a day?
André: Yeah, two hours a day. It’s a workout too. With tap dance, you have to work, because you work damn near every muscle. ‘Cause you take for granted how much control you gotta have in your ankles. ‘Cause you’ve got to almost lift yourself up.
Big: That’s gangster as hell.
André: It’s crazy.
Big: That’s some player shit too.
André: That’s why I put some on my shoes, I’d be round the house… [demos a few steps, still seated].
Sarah: I was amazed by the children who played you as youngsters.
André: Yeah, they were really good.
Sarah: [to Big] Yours really freaked me out, because he was like a small man.
André and Big: Yeah, ha ha!
Big: Bobb’e J.
André: Yeah, man. He grown. He grown for his age.
Sarah: I wanted to ask about how you found them and how they learnt about your characteristics. Did they do that?
Big: When Bryan cast Bobb’e J, he wanted somebody to be out going and just have a lot of personality. To play a small version of me, he had to be a little small man. He fit, he fit for real, it was crazy. ‘Praise Jesus’ he was dancing!
André: Oh yeah, that was so funny.
Sarah: And how old is he?
Big: Man, I don’t know.
André: I don’t know. About 30.
Big: He might be 30... 29 or 30.
André: No, I think he’s about eight now, but he’s really small for his age.
Big: He can’t be no more than like nine or 10. Crazy, crazy. He was rapping. I remember he had his little sister on the set, who was bigger than he was, they were doing ‘Roses’. She was doing the background vocals and he was just saying all the words, singing. He’d be like ‘Caroline’ and she’d be like ‘Caroline’. They were just singing back and fourth, that shit was amazing.

Sarah: What was your best experience making the film?
Big: My best experience of making the film was getting fucked up in the back of that Ford with Paula Jai Parker and making out with her. They just gave us a bottle of Hennessey and were like ‘Go for it!’

Sarah: Can you tell us about the process of working with the Morris Brown Marching Band? I actually wanted to ask about the process of the whole song (‘Morris Brown’), because it’s really interesting that you’ve got that contemporary style and just so many different layers to it.
André: Basically I started it with a beat at home, I was messing around, I had just learned how to use the computer to make beats, you know. And I was messing with this drum programme and this keyboard. So, I had this beat going and had the part played by keyboards and just thought it would sound bigger with a live marching band. So, I had a relationship with the Morris Brown band director and he always used to say, ‘If you ever need something, come on down and holler at us.’ So, I took the song down and this was when cassette tapes were still good, ‘cause we did this song a while ago. So, I put the song on a cassette tape and I gave it to the band director and said I want you to write out parts. You know, dictate which instrument would play what. So, he wrote out the band parts, they called and said ‘Ok, we’re ready.’ So, we went in the studio and there was about 50 or 60 kids, they were really excited about it, ‘cause, originally it was supposed to be a record for TLC and they didn’t want to pay up. So we just kept it. Really we had this track that we spent a whole bunch of fucking money on, spent our OutKast G’s on and it was just laying around. And Big Boi had it on CD and Scar, one of his artists, heard the track and he started writing to it. Scar wrote this cool little melody to it and just brought the song back to life, like from out of the depths of nowhere.

Sarah: Please could you choose a track each and break them down for us - including production, story, guests?
Big: I’d have to say one of them would be ‘N2U’, produced by Organized Noize.
Sarah: Ah, with Khujo on.
Big: Yeah, Khujo came through about three in the morning and I had got the beat from Rico when I was in LA. I was writing to it. I was like, ‘Man, this is just so funky.’ He already had the hook on there and I thought it was Sleepy on there at first, but it was Mike P. He had the little hook part on there and I was like, ‘Man, the song’s self-explanatory.’ So, you know me, how I approach the game. I just spit two-two,
put it down like that and let them know what time it is. Splish splash, taking a bath and now I’m here. Rub-a-dub-dub, we out the tub baby!
Sarah: You want me to type that?
Big: Yeah, yeah.
Sarah: Thanks. André, do you want to choose a track please?
André: [starts humming and beatboxing] Um... [In European accent] ‘Chronomentrophobia’, the fear of clocks, the fear of time. ‘Chronomentrophobia’ is a song that’s been in the vault for a while. It was done about four years ago maybe. No, about five or six.
Big: Yeah, try nine, that was for the ATL. That thing has been in the vault, secure.
André: Well, probably about seven I think, probably about seven years. I was messing around with this drum machine, this analogue drum machine. I got some good tight eight-bit sounds on it and ‘Chronomentrophobia’, I don’t know, I saw the word somewhere and I liked the way it sounded. I didn’t know what it meant, so I just wrote it down and then looked it up and came up with the first verse and the chorus maybe like five years ago. And then, because the character Percival in this movie, you know, his whole thing was about time, there’s clocks in everything, so I thought it’d make good sense to bring back for this movie. And last minute we were trying to finish up the album, I was mixing it and we knew it was a great jam, but it just wasn’t done and it’s like, ‘Damn, it’s like
a waste of a song’. So, I write raps far
and few between so, I was like just trying
to dig through old shit, old raps. The
rap that I put on there was actually a
rap that I wrote for the first album ‘Southernplayalisticadillacmuzik’, so that’s an eleven year old rap. And when you hear it now, it just sounds like it’s supposed to be there, like it makes sense. I’ve been trying to put the rap on damn near every album since, but just couldn’t find space. So, that’s actually a vintage rap that nobody’s ever heard and actually where the title ‘ATLiens’ came from, it came from that rap.

The Card game commences

André: Alright, ‘School’, if you could go to any school, I mean college, what college would you go to?
Big: Err, man. Let’s see.
André: Any school.
Big: Any school? Shiiit, damn. Hell, I’d go to Harvard or Brown.
André: Alright, there it is.
Big: Cool. [Turns card over] Bam! ‘BLAG’. Ok, I got it. What does blag mean again?
Sarah: To get something for free,
clever talk.
André: Alright, let me go and flimflam up
in here.
Big: Shit, would you sign two covers of your BLAG covers for my Grandmama and my Mama?
André: Yeah. OK.

And so to the photoshoot.

Size Chart

Size Chart / Fabric Composition / Finish Details

BLAG Vol.4 Nø 1 measures 297mm x 230mm, high quality stock, full colour, entirely advertisement free. 

All garments are sustainably created using the highest quality yarns and environmentally friendly practises. Care: Cool wash only, don't iron art.

Items are measured flat across under arms and flat down from highest point shoulder to neck. Sweatpants flat across the waist and flat from waist to hem. 

Organic Pullover Hoodie
100% Organic Combed Cotton, Brushed
Finish: Double-lined drawstring hood, with optional pull cords, brushed fleece inside, headphones loop at neck and hole in pocket. Side pockets. Ribbed cuffs and waistband.
XS 19.75" x 23.75", S 20.75" x 25", M 22" x 26.25, L 23.25" x 27.5", XL 24.5" x 28.5", XXL 25.5" x 29.75"

Premium Pullover Hoodie
80% Combed Cotton, 20% Polyester
Finish: Double-lined drawstring hood, with optional pull cords, brushed fleece inside, headphones loop at neck and hole in pocket. Side pockets. Ribbed cuffs and waistband.
XS 18.5" x 26.75", S 19.75" x 28", M 20.75" x 29.25", L 22" x 30.25", XL 23.25" x 31.5", XXL 24.5" x 32.75"

Sweatshirt - Drop Sleeve
80% Combed Cotton, 20% Polyester.
Finish: Ultra soft brushed inside fabric. Beautifully finished drop sleeve, ribbed neck, cuffs and waistband. Superior quality.
XS 18.75" x 24", S 20" x 24.75", M 21.25" x 25.5", L 22.5" x 26.5", XL 23.5" x 27.25", XXL 23.75" x 28"

T-Shirt - Classic Style Unisex
Fabric: 100% Combed Organic Cotton
Finish: Ribbed neck, fitted sleeve at shoulder, side seams.
XS 18.75" x 26.75", S 19.75" x 27.5", M 21" x 28.25", L 22 x 29.25", XL 23.5" x 30", XXL 25.25" x 30.75"

Long Sleeve T-Shirt - Classic Cut
Fabric: 100% Combed Organic Cotton
Finish: Ribbed Neck, side seam, loose sleeve, fitted at shoulder
S 19.75” x 26.75”, M 21” x 27.5”, L 22” x 28.25”, XL 23.5” x 29.25”, XXL 25.25” x 30”

T-Shirt - Bamboo
70% Bamboo Viscose 30% Organic Cotton
Finish: Super soft, Ribbed neck, fitted sleeve at shoulder, side seams.
S 19" x 26.75", M 20" x 27.5", L 21.25" x 28.25", XL 22.5" x 29.25", XXL 23.5" x 30"

T-Shirt - Rolled Sleeves
Fabric: 100% Combed Organic Cotton
Finish: Ribbed neck, fitted sleeve at shoulder, side seams. Rolled Sleeve secured.
S 18.75" x 27.5", M 20" x 28.25", L 21" x 29.25", XL 22.25 x 30 (XXL up available as classic plain white organic t-shirt)

Women's Vest / Tank
100% Tencel Lyocell (Eucalyptus
S 16.75" x 26.5", M 17.75 x 27.25", L 18.75" x 28" (XL available in White, Heather White or Heather Grey unisex style only 21.75" x 29.75")

Unisex Vest / Tank
100% Combed Cotton, Heather Grey: 85% Cotton, 15% Viscose, Heather White: 99% Cotton, 1% Viscose
S 18.75" x 27.25" M 19.75" x 28.25", L 20.75" x 29", XL 21.75" x 29.75"

Baseball Style Shirt
Fabric: 100% Organic Combed Cotton
Finish: 3/4 length raglan sleeve and curved hem
XS 18.5" x 26.5", S 19.5" x 27.25", M 20.5" x 28.25", L 21.5" x 29.25", XL 22.5" x 30", XXL 23.5" x 30.75"

Fabric: 100% Organic Combed Cotton
Finish: Panelled legs, rib finish pockets, drawstring waist and rib cuff at ankles
XS 12.5" x 37", S 13.5" x 38.25", M 14.25" x 39.5", L 15" x 39.75", XL 15.75" x 40.25", XXL 16.5" x 40.5"  

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