Shake It Like a Polaroid Picture Edition Part 2

Summary

Podcast Summary: Hit Parade – "Shake It Like a Polaroid Picture Edition Part 2"

Date: August 25, 2023
Host: Chris Molanphy
Podcast: Hit Parade | Music History and Music Trivia

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Overview of the Episode

This episode continues the deep dive into Outkast’s revolutionary impact on Southern hip hop and pop music. Host Chris Molanphy explores the duo's innovative evolution from the turn of the millennium through their explosive commercial peak and eventual hiatus, dissecting how Outkast transcended genre boundaries and redefined what chart-topping success could sound like.

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Key Discussion Points & Insights

1. Outkast at the Millennium: Reinvention and Stankonia

• Bombs Over Baghdad (“B.O.B.”) and Artistic Expansion

  • Outkast sought to transcend rap by incorporating frenetic drum & bass rhythms into "Bombs Over Baghdad," releasing a track at 155 bpm, which was strikingly different from their previous laid-back style.
  • “Outkast's attempt to synthesize the rhythms of British dance music known as drum and bass…” (01:07)
  • Critical acclaim was enormous – Pitchfork named it the best single of the 2000s, but due to its boldness (and possibly the controversial title), it wasn’t a big radio hit, peaking at #69 on the R&B chart.

• The Breakthrough Pop Moment – "Ms. Jackson"

  • "Ms. Jackson" marked Outkast’s first #1 on both pop and R&B charts.
  • The song’s appeal was its universal theme: “an apology for letting down the mother of the mother of your child.”
  • Notably, it was inspired by Andre 3000’s relationship with Erykah Badu and her mother.
  • Molanphy highlights:
    “As specific as this scenario sounds, it was the most culturally relatable an Outkast song had ever been—a meme, if you will, before the age of memes.” (05:56)
  • The track cleverly incorporated Wagner’s “Bridal Chorus” as a piano motif in a song about not settling down.

2. The Era of Melodic Outkast

• Singles Becoming More Melodic

  • Songs like “So Fresh, So Clean” and “The Whole World” (featuring Killer Mike) display increasing melodic hooks and genre crossovers.
  • Atlanta solidified its status as the new hip hop capital, spinning off stars like Ludacris, Lil Jon, and T.I.
  • “By the early aughts, Atlanta was now widely acknowledged as the capital of hip hop, spinning off a constellation of rappers…” (08:28)

• Big Boi and Andre 3000’s Diverging Interests

  • The duo’s musical tastes started to split: Big Boi gravitated toward R&B and funk; Andre was influenced by punk, new wave, and indie rock (notably, Kate Bush).
  • Andre began blending influences from The Smiths, Buzzcocks, and The Hives into his songwriting.

3. "Hey Ya!" and "The Way You Move": Double-Barreled Pop Domination

• The Creation of “Hey Ya!”

  • Conceived as a power-pop anthem with secretively poignant lyrics under the guise of a party anthem.
  • Andre’s view: “Separate’s always better when there’s feelings involved… you know what they say: nothing lasts forever. Then what makes love the exception?” (12:30)
  • Recognized as Slate’s “number one song in the new American songbook of the 21st century.”
  • Instantly became a wedding staple and pop culture phenomenon.

• Speakerboxxx/The Love Below – Two Albums in One

  • Outkast released an album split into two solo projects: Big Boi’s “Speakerboxxx” and Andre’s “The Love Below” (13:10).
  • Both “Hey Ya!” (Andre) and “The Way You Move” (Big Boi) were promoted simultaneously, leading to a friendly chart rivalry.
  • “In reality, Big Boi and Andre were going head to head on the charts...” (14:18)

• Chart Feats and Grammy Triumph

  • “Hey Ya!” hit #1, overtaking Ludacris’ “Stand Up,” and stayed there for nine weeks; “The Way You Move” lingered at #2 for eight weeks before finally reaching #1, replacing their own single.
  • Outkast became only the fifth act to replace themselves at #1, joining a list including Elvis Presley, the Beatles, Boyz II Men, and Nelly.
  • Their album won Grammy for Album of the Year, one of the few hip hop albums ever to do so.
  • Molanphy notes:
    “The hard fact remains that the Recording Academy, in its top category, prefers rap albums with little rap on them. Outkast had, however, inadvertently produced an ideal Grammy album.” (21:36)

4. After the Peak: Idlewild, Legacy, and Solo Ventures

• Idlewild: The Hollywood Experiment

  • Outkast’s final album was the “Idlewild” soundtrack, a jazz age musical film project.
  • The album and movie achieved moderate commercial success but received mixed reviews—a muted finale for their recording partnership.
  • “It was a muted finale for one of the most artistically daring careers in hip hop history.” (24:10)

• Impact on Southern Hip Hop and Beyond

  • Outkast’s sound and success paved the way for the rise of Southern rap and Atlanta’s dominance, giving birth to a lineage including T.I., CeeLo Green, and Gnarls Barkley.
  • “Crazy” by Gnarls Barkley is cited as a spiritual successor to Outkast’s genre-defying approach.

• Solo Careers and Occasional Reunions

  • Big Boi released three acclaimed solo albums, especially 2010’s “Sir Luscious Left Foot.”
  • Andre 3000 focused on sporadic guest appearances and acting roles, notably as Jimi Hendrix in the 2014 biopic “Jimi: All Is by My Side.”
  • The duo briefly reunited for live appearances, such as 2014’s Coachella set.

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Notable Quotes & Memorable Moments

• On “Bombs Over Baghdad”:
  “The famously laid-back hip hop duo were suddenly rapping like they had mainlined extra strength Red Bull.” (01:59)

• On the meme-like power of “Ms. Jackson”:
  “As specific as this scenario sounds, it was the most culturally relatable an Outkast song had ever been—a meme, if you will, before the age of memes.” (05:56)

• Andre 3000, on love and impermanence in “Hey Ya!”:
  “Separate’s always better when there’s feelings involved… you know what they say: nothing lasts forever. Then what makes love the exception?” (12:30)

• Big Boi, Grammys speech, on the group’s roots:
  “Outkast yes, for stand down since our first album Southern Playlistic… when people thought our first album was Stankonia. Stankonia is not Outkast’s first album, do your history!” (22:19)

• On Outkast’s lasting influence:
  “With their legacy secure…the charts were awash in music that owed Outkast a debt of gratitude.” (25:38)

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Timestamps for Key Segments

• [01:07] – The creative breakthrough of “Bombs Over Baghdad”
• [05:19] – “Ms. Jackson”: inspiration and cultural impact
• [08:28] – Atlanta’s ascent as hip hop capital
• [10:22] – Big Boi’s unexpected influences (Kate Bush)
• [12:36] – The making of “Hey Ya!” and its genre roots
• [13:10] – The unique concept behind “Speakerboxxx/The Love Below”
• [14:18] – Outkast’s dual singles competition (“Hey Ya!” vs. “The Way You Move”)
• [16:05] – The moment both singles dominate the charts
• [19:18] – Grammy win for Album of the Year
• [22:19] – Acceptance speech: pride and correcting misconceptions
• [24:26] – “Idlewild” and the end of regular Outkast albums
• [26:45] – Their influence on Atlanta's next wave and genre fusion
• [29:51] – Andre 3000’s later philosophy and appearances
• [31:27] – 2014 Coachella reunion highlights Outkast’s legacy

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Flow, Tone, and Speaker Attribution

Chris Molanphy delivers a compelling, story-driven narrative, blending pop chart analysis with vivid anecdotes and razor-sharp cultural observations. Notable quotes are attributed in-text or through narration, ensuring the history feels alive and immediate.

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Summary for New Listeners

If you haven’t listened, this episode is an engaging chronicle of Outkast’s artistic daring, tracing their ascent from Southern rap heroes to pop trailblazers who reshaped the genre’s possibilities. Molanphy gives equal attention to the music’s construction, its chart performance, and the duo’s evolving ambitions, all wrapped in energetic storytelling that matches Outkast’s inventive spirit. Whether a superfan or casual listener, you’ll come away understanding exactly why Outkast’s “Hey Ya!” era was a transformative epoch in pop music history—and how Atlanta became a capital of hip hop in their wake.

Transcript

[Big Boi]

You're listening ad free on Amazon Music.

[Chris Melanfi]

Welcome back to Hit Parade, a podcast of pop chart history from Slate magazine about the hits from coast to coast. I'm Chris Melanfy, chart analyst, pop critic and writer of Slate's why Is this Song Number One series. On our last episode, we covered the first decade of the career of Outkast, the duo of Antoine Big Boy Patton and Andre 3000 Benjamin. Their emergence as teenage hitmakers, their upset win at the 1995 Source Awards, and Andre's prophetic speech at that show claiming.

[Narrator]

Rap for the South.

[Chris Melanfi]

We're now up to the turn of the millennium, and Southern hip hop is now so successful, Outkasts begin thinking bigger, even beyond the boundaries of rap.

[Narrator]

Over in Atlanta, Andre and Big Boi knew they needed to up their game. So in 2000 they went back into the studio and emerged with a new benchmark for speed. Bombs Over Baghdad has been acclaimed as one of the most dazzling singles in rap history. Running at a frenetic 155 beats per minute, the song was Outkast's attempt to synthesize the rhythms of the British dance music known as drum and bass, which had been blasting in UK clubs throughout the second half of the 1990s.

[Andre 3000]

Wonder if we don't want it could.

[Narrator]

Be if it's that made Bob perhaps the most exceptional Outkast single. The famously laid back hip hop duo were suddenly rapping like they had mainlined extra strength Red Bull. Critics called it seminal and prophetic. The Village Voice dubbed it, quote, just about the damnedest bass track ever, an electro workout. Years later, Pitchfork named it the best single of the 2000s, calling Bob, quote, an obliteration of the boundaries separating hip hop, metal and electro, setting the stage for a decade of dance rock crossovers. Perhaps because it was so cutting edge and possibly because its titular phrase, bombs Over Baghdad, was controversial on the radio. Even years before the second Persian Gulf War, Bob was not a big chart hit. It only reached number 69 on the R B songs chart and missed the Hot 100 entirely. But two months ahead of Outkast's next album, it signaled that Big Boi and Andre, who by the way was now for the first time calling himself Andre 3000, were on some next level shit. They would call that album Stankonia. And it arrived in November with one of the coolest album cover photos ever. Big Boi and Andre 3000 in front of an all black American flag, Dre flexing his hands at the camera. The album debuted to more than half a million in sales in its first week, debuting yet again at number two. If it hadn't come out the same week as Jay Z's latest cd, the Dynasty, Stankonia would have been an easy number one. The album was outkast's biggest and most sonically expansive to date, incorporating elements of funk style, psychedelia, gospel, rock and club music all fused with hip hop. Amazingly, it also contained outkast's first blockbuster pop single. To date. Outkast had yet to score a chart topping pop or R and B hit. Ms. Jackson changed that, topping both the Hot 100 and the RB chart in the winter of 2001. Contrary to initial belief, Ms. Jackson was not about Ms. Janet Jackson, although when playing the song live as a tease, Outkast would have their DJ drop in a line from Janet's 1986 hit Nasty.

[Andre 3000]

No, my first name ain't Baby, it's Janet Ms. Jackson.

[Narrator]

Instead, the song was indirectly about another famous female singer, Erykah Badu, whom Andre had dated for several years and who'd had her first child with him. However, the song was not dedicated to Badu, but rather to her mother, with whom Dre had reportedly had an altercation. As he says right at the start of the song, yeah, this one right.

[Big Boi]

Here goes out to all the babies mamas.

[Narrator]

The song is an apology for letting down the mother of the mother of your child. As specific as this scenario sounds, it was the most culturally relatable an outcast song had ever been a meme, if you will, before the age of memes. And it was wickedly catchy. In a clever touch in a song about a man who refuses to settle down, Outkast included a recurring piano line that they borrowed from opera composer Richard Wagner's famed Bridal chorus, AKA the Wedding March. By the time Ms. Jackson topped the Hot 100 in February 2001, Stankonia was already triple platinum, their biggest selling album to date, on its way to eventual sales of 4 million. It also inaugurated a period for Outkast where the singles became ever more melodic. On the no. 30 pop 10 RB hit so Fresh, so Clean, for example, Outkast rapped over an irresistible chanting chorus sung by Organized Noise members Sleepy Brown and Rico Wade. Then later in 2001, the number 19 pop number 8 R B hit the Whole World, a new single added to outkast's first ever greatest Hits album was built on a bouncy chorus sung by Andre with Dungeon Family singer Joy. The Whole World also featured bars from fellow Atlanta rapper Killer Mike, yet another victory lap for Hip hop from the ATL by the early aughts, Atlanta was now widely acknowledged as the capital of hip hop, spinning off a constellation of rappers from the big voiced Ludacris to King of Crunk, Lil Jon. To rising Atlanta trap music kingpin T.I. And across the south, other platinum rappers were picking up the ball from Outkast, Organized Noise and the Dungeon Family, particularly their combination of generous pop melodies with percolating hip hop, such as the pride of St. Louis Nelly. And yet, even as rap was spreading across the south and coming to dominate Atlanta, Big Boy and especially Andre Benjamin were turning their ears increasingly away from hip hop. They were still a group, but their musical interests were diverging. Big Boy going deeper into brassy R and B and dirty south funk, and Dre toward jazz, pop, standards, even alternative rock. Their next album, marketed and sold as an outcast album, would be in reality two solo discs, one by each man, paired as a double cd. Dre and Big Boy would continue to contribute to each other's work, but each disc would be the clear vision of one half of the duo. Big Boy had a reputation as outkast's more rap centric member, but Antoine had wider interests. In later interviews, Big Boy would cite iconoclastic British singer songwriter Kate Bush as one of his all time favorites and biggest sonic influences.

[Andre 3000]

Be running up that road Be running up that hill Be running up that field.

[Narrator]

Her ethereal work would find its way into the more cerebral material Big Boy was working on for outkast's next album. But overwhelmingly, it was Andre who wanted to move far away from rapid. He began adapting techniques he'd picked up from punk, new wave and indie rock. Indeed, the song that would ultimately become Outkast's biggest hit ever was arguably not rap at all. Some of the influences Dre would later cite for this song included the Smiths, The Buzzcocks, And a new early 2000s garage rock band from Sweden called the Hives. Andre fused all of these influences into a song he composed on acoustic guitar, a strummy, catchy power pop anthem. On the surface, it sounded like a big party, but its verse lyrics were secretly heartfelt, a meditation on the meaning of love. Separate's always better when there's feelings involved, Dre sang. You know what they say? Nothing lasts forever. Then what makes love the exception? Even with these contemplative lyrics, however, Andrej gave his pop masterpiece an ebullient title, complete with an exclamation point. He called it hey Ya.

[Big Boi]

And if I Know the show.

[Narrator]

Later named by this very magazine Slate as the number one song in the new American songbook of the 21st century. Hey ya crossed every boundary in music. If you have attended a wedding in the last 15 years, there's a good chance you've danced to hey Ya. It's bridge chant alone, the closest thing to pure hip hop in the song is made for celebration. But hey Ya was not the only lead off track for the new album. Much like the project itself, in which outkast's two members worked in parallel, the Dre song was issued to radio and music stores alongside A Big Boy song, in essence a double a sided single, and Big Boy's half of the single was the catchiest thing Antoine had ever produced, a horn inflected funk love song, its infectious chorus sung by Sleepy Brown called the Way youy Move. Although both tracks were officially credited to outkast, in reality Big Boi and Andre were going head to head on the charts, and what is now forgotten in pop history was that Big Boy's single was the bigger hit first. The Way youy Move debuted on the Hot 100 in September 2003, three weeks ahead of hey Ya and the Way youy Move scaled the chart faster, reaching the top 10 in early November while HEA was still at number 15. Meanwhile on the album chart, Outkast issued their new 2 CD set in late September and it was their first not to have a portmanteau word as its title, after Southern Playalistic at Elias Aquemini and Stankonia. In fact, the album essentially had two titles in one with a slash in the middle speaker box slash the Love Below. That title reflected its creation and its reality as a pair of solo albums fused together Big Boy's speaker box with Andre's the Love Below. Cleverly, Arista Records, Outkast's distributing label, priced the two disc set so that retailers could discount it at about the price of a single cd. This further encouraged the public to regard the new album as an extra long single outcast album. This tactic worked. In October 2003, Speakerbox the Love Below became Outkast's first and only number one album on the Billboard 200 album chart. Like Stanconia Speakerbox, the Love Below opened to more than half a million in first week sales. But the chart fireworks for the album and the implied competition between Dre and Big Boy was only beginning.

[Andre 3000]

You think you got it.

[Narrator]

Both the Way youy Move and hey Ya were lodged in the top 20 on the Hot 100 by November. If Big Boi's track had been the only lead off single to Outkast's new album, it might well have topped the Hot 100 on its own. We'll never know. But just before Thanksgiving, Big Boi's song was overtaken on the Hot 100 by Dre's as Hey Ya became the most added song at US radio and pole vaulted on the Hot 100 from number 13 into the top five. Three weeks later, a fortnight before Christmas 2003, hey Ya topped the Hot 100. Interestingly, when Heya reached number one, it knocked out a chart topper from fellow Atlanta recording artist Ludicrous. His number one hit Stand Up. The contrast could not have been more stark. Luda was the sound of contemporary of the moment Atlanta hip hop. Outkast's Andre was pulling away from hip hop entirely in Billboard, Hey Ya was a multi genre juggernaut making appearances across the magazine's pop, R and B, adult alternative rock and even Latin charts. But that was not the end of the story of the Dre versus Big Boy chart competition. For eight of the nine weeks that Heya was number one on the Hot 100, the way you Move was right behind it, sitting patiently at number two. Finally, in February 2004, in its 21st week on the chart, the Way youy Move overtook Heiya, rising to number one as Big Boy ejected his longtime partner and friend Andrew Some chart trivia. Outkast became only the fifth act to replace themselves at number one. They followed Elvis Presley, the Beatles, Boyz II Men and Nelly. When we include two other acts who succeeded themselves in featured roles, Puff Daddy and Ja Rule, outkast were the seventh act to achieve this feat. Outkast also set a new record for the longest wait by a song at number two before rising to number one. Of course, the song that had held their hit back for a record eight weeks had been another song by Outkast. Outkast were officially the biggest act on the Billboard charts. As if their week couldn't get any better just days later, Andre Benjamin and Antoine Patton traveled to Los Angeles to attend the 46th annual Grammy Awards, where.

[Andre 3000]

This happened and the Grammy goes too. Speaker Box the Love Below outkast.

[Narrator]

By winning the Grammy for Album of the Year, outkast entered rarefied company. Only one other hip hop album, period, had ever won the National Academy of Recording Arts and Sciences top Prize. Five years earlier, it had been taken by the miseducation of Lauryn Hill. And to this day, these two titles remain the only hip hop albums to win the Grammy for Album of the Year. And neither one is entirely a rap album. Lauryn Hill sings as much as she raps on the Great Miseducation. As for Speaker Box the Love Below, which by the way, did top many critics polls as the best album of 2003. Clearly the recording Academy was dazzled by the album's musical breadth, from the jangle rock of hey Ya to the sweet soul of the Way youy Move to the funk rock of the follow up single, the top 10 hit roses. To Big Boy's electro pop jam Ghetto Music, Or Andre's ethereal guitar ballad prototype. The album even featured a duet between Andre and Grammy queen Norah Jones, who had taken Album of the Year herself just two years earlier.

[Andre 3000]

Baby, take off your coon.

[Narrator]

The hard fact remains that the Recording Academy, in its top category, prefers rap albums with little rap on them. Outkast had, however, inadvertently produced an ideal Grammy album. To be sure, they were ebullient as they took the stage at the Staples center in Los Angeles. They thanked L A Reid profusely for sticking by them and their quirky choices. But then Andre took the microphone and like his moment at the Source Awards, his joy was tinged with just a little resentment, this time toward nouveau fans who he felt didn't understand.

[Big Boi]

Outkast yes for Stand down since our first album Southern Playlist Sing when people thought our first album was Stankonia. Stankonia is not Outkast's first album due to history. We love y'. All. Thank you very much. Southern Playlist of Cadillac Music Stanky Stankies thank you very much. You're smiling.

[Narrator]

The 2004 Grammys was the pinnacle of Outkast's career and also a tough act to follow. As Andre's speech indicated, the cracks were starting to show. Like our recent hit Parade subject Billy Joel, who also won Album of the Year at the Grammys and a few years later quit pop recording entirely. After one final number one album, outkast were just about ready to hang it up. Speaker Box the Love Below would be their last regular studio album, although not their last album period. At this imperial high point with the cultural capital to greenlight any project they chose, Andre and Big Boy elected to go out by fulfilling a long time an outcast movie. Idlewild was Outkast's reimagining of Great Depression era movie musicals for the hip hop era. Andre and Big Boy played Percival and Rooster, respectively, a pair of juke joint performers in a fantastical Georgia town called Idlewild in 1935. Other performers in the movie included such acclaimed black actors and as Terrence Howard, Cicely Tyson and Ben Vereen, and the film featured dazzling dance sequences and songs by outkast that evoked big band music from the era of Cab Calloway. On one track, the single Morris Brown, they even evoked historical black college sounds of the marching band.

[Big Boi]

Whether you like it or not, he's back. D A Double D Y Fast.

[Narrator]

Released in the late summer of 2006, Idlewild, the movie did decently, earning back its $10 million budget worldwide, but reviews were mixed at best, and it was in and out of theaters in a couple of weeks. It was a similar story for the soundtrack, really. A companion album and officially outkast's last cd, it shipped in platinum quantities and debuted at number two on the Billboard chart on the strength of pent up demand for new Outkast music. But Idlewild was off the Billboard 200 in less than three months, the shortest chart run of any Outkast album, and reviews were respectful but leaned negative. Critics called the album overlong and unfocused. It was a muted finale for one of the most artistically daring careers in hip hop history. And if outkast with Idlewild didn't exactly go out on top, they definitely went out on their own terms, as they had their entire career. With their legacy secure for the next decade and a half, the charts were awash in music that owed Outkast a debt of gratitude, whether it was other Atlanta rappers who had Dre and Big Boi to thank for creating the scene they now thrived in like TI. Or Outkast's collaborators, like their Dungeon Family friend CeeLo Green. He teamed up with producer Brian Dangermouse Burton to form the duo Gnarls Barkley, and they recorded one of the biggest and most acclaimed singles of the aughts, like hey Ya. Gnarls Barkley's number two hit, Crazy, straddled multiple post hip hop genres all at once.

[Andre 3000]

Does that make me crazy? Does that make me crazy?

[Narrator]

Does that make me as for Andre 3000 and Big Boy, even though they never recorded another Outkast album, they have produced plenty of new music, but at irregular intervals and rarely together. For fans of Outkast's rapping, particularly Dre's, given his abandonment of rap during the early aughts, the highlight of the decade may have been their guest appearance on a remix from Houston rappers ugk.

[Big Boi]

So I typed a text to a girl I used to see Saying that I chose this cutie pie with whom I want to be and I apologize if this message is.

[Narrator]

UGK's 2007 Single International players anthem I Choose youe was one of the most acclaimed tracks of the decade. Both Dre and Big Boy threw down some of their best bars and they even made jovial appearances in the song's music video play acting and imagination visionary Andre 3000 wedding. For his part, Big Boi has issued three solo albums, all of which have earned modest sales but very strong critical acclaim, Most especially his 2010 solo debut Sir Luscious Left Foot, which made many year end best album lists and spawned the minor hit Shutterbuck. And Andre 3000. Appearances by him are still newsworthy affairs, though it is anyone's guess when or where he will turn up. Dray has yet to produce an official solo album, but he has guested on more than two dozen original and remixed tracks since outkast's hiatus, including hits by rapper Rich Boy, R b singer lloyd. And none other than pop deity Beyonce on her 2012 hit Party. Under his birth name of Andre Benjamin. He has also acted in several films, including the starring role in the 2014 biopic Jimmy All Is by My side, in which Benjamin earned plaudits for his uncanny portrayal of guitar legend Jimi Hendrix.

[Big Boi]

You really want to change things. When the power of love takes over the love of power, that's when things will change.

[Narrator]

Now in his 40s, Andre 3000 will still show up for an occasional guest appearance on a song. As recently as 2019, he made a cameo on the latest album by singer rapper Anderson Paak.

[Big Boi]

You're all I need all of me on my knees normally Harmony Bumblebee Harman Burt I'm a nerd study you what.

[Narrator]

Do you w But Dre and Big Boy's stronger legacy is on Southern rap in general. While cities from Chicago to Toronto have staked their claim as hotbeds of hip hop, it is still widely taken for granted that many rap movements bubble up from Atlanta from the likes of Future. And Migos. It's a legacy that Andre and Big Boy are rightfully proud of all these years after they stepped away from the outcast spotlight. It's a legacy that they sought to burnish in 2014 when they briefly reunited to tour as Outkast, and the highlight of that tour was when they headlined the blockbuster Coachella Music Festival live from the Stage in Indio, California. Big Boy echoed his partner at the 2004 Grammys when he shouted out the fans who truly remembered outkast from back in the day.

[Big Boi]

If you've been down with Outkast since day one. You know when this song is right here.

[Narrator]

As heads nodded along to players ball, the holiday single Outkast dropped back in 1993. For just a moment, Coachella felt a little like the ATL on Christmas Day.

[Chris Melanfi]

I hope you enjoyed this episode of Hit Parade. Our show was written, written, edited, and narrated by Chris Melanfi. That's me. The producer for this show was Benjamin Frisch, with additional 2023 production from Kevin Bendis. Derek John is Executive Producer of Narrative Podcasts and Alicia Montgomery is VP of Audio for Slate Podcasts. Check out their roster of [e-mail] podcasts. You can subscribe to Hit Parade wherever you get your podcasts, in addition to finding it in the Slate Culture feed. If you're subscribing on Apple Podcasts, please rate and review us while you're there. It helps other listeners find the show. Thanks for listening and I look forward to leading the Hit Parade back your way. Until then, keep on marching on the one. I'm Chris Morani.

[Andre 3000]

Play.