Are you an Outkast?
On their 1994 album Southernplayalisticadillacmuzik, hip hop duo Outkast – consisting of lyricists André 3000 (“3 Stacks”) and Big Boi (“Daddy Fat Sax”) – released a break between songs entitled “True Dat (Interlude)” which featured vocals from spoken word artist Big Rube.
It’s worth noting that as a matter of strict technicality, I consider 3 Stacks to be a classic lyricist. His words are poetic. Likewise, I view Daddy Fat Sax as a lyricist and not a rapper, though solely due to how his flow progresses mainly when paired with André 3000.
In any case, at just over a minute in length, I listened to “True Dat (Interlude)” repeatedly when in high school. The words resonated with me, as lyrics include the following:
An Outkast is someone who is not considered to be part of the normal world
He’s looked at differently
He’s not accepted because of his clothes, his hair, his occupation, his beliefs, or his skin color
Now look at yourself
Are you an Outkast?
I know I am
As a matter of fact, fuck being anything else
It was as though Big Rube was speaking directly to me on the interlude, like he knew precisely what I experienced in life up until adolescence. With that album I became an Outkast fan, partially because I was an outcast. Addressing my support for the duo, I stated in a blogpost entitled Cell Therapy:
André 3000 gave a brief speech at the 1995 Source Awards by boldly declaring:
But it’s like ‘dis, ‘tho’. I’m tired of folks, know’m’sayin’—the closed-minded folks, you’know’m’sayin’—it’s like, we got a demo tape and don’t nobody wanna’ hear it. But it’s like, ‘dis da’ South—got somethin’ to say! That’s all I got to say!
I can’t recall being more proud of any hip hop music artist before, during, or subsequent to 3000’s declaration. People within hip hop culture often considered those of us from the South to be slow, ignorant, and as having nothing worthwhile to say.
Enthusiastic for Southernplayalisticadillacmuzik, I shared the album with my youngest sibling. Later in life, she told me the anthology was pivotal for her introduction into hip hop culture. Now, I’ll share with the world another album from Outkast – ATLiens (1996).
If required to pick one hip hop album that was most influential for me, given the unique set of circumstances I experienced in my life after having graduated high school and entered the Marine Corps, ATLiens is that album. At risk of torturing a cliché, ATLiens was a life-changing anthology for me.
In fact, in the late ‘90s, when the Internet was still in its infancy, I participated in an online chatroom called ATLiens Chat. Hip hop fans from across the world would meet up and discuss various topics, often leading to breakout chatting sessions using ICQ.
I formed parasocial relationships with people from across the world and would later meet a couple of the “ATLiens,” as members of the chat referred to ourselves. It turned out that I wasn’t the only outcast who enjoyed Outkast. Apparently, others also declared “fuck being anything else.”
In any case, herein I’ll examine each track of ATLiens and relate the content to Rational Emotive Behavior Therapy (REBT) – contrasting where I was mentally, emotionally, and behaviorally from a historical perspective to how I currently function. Before doing so, it may be helpful to discuss what REBT is.
REBT
REBT is a psychotherapeutic modality that falls under the umbrella of cognitive behavior therapy (CBT). In general, CBT focuses on patterns of thinking and believing which influence how people further think or believe, feel (emotions or bodily sensations), and behave.
Specifically, REBT theory uses the ABC model to illustrate how when Activating events (“Actions”) occur and people maintain irrational Beliefs about the events, these unhelpful assumptions – and not the actual occurrences – are what create unpleasant cognitive, emotive, bodily sensation, and behavioral Consequences.
In particular, there are four predominate irrational beliefs which people use: demandingness, awfulizing, low frustration tolerance (LFT), and global evaluations. Addressing these, the ABC model incorporates Disputation of unhelpful assumptions in order to explore Effective new beliefs.
From a psychological standpoint, people disturb themselves using a Belief-Consequence (B-C) connection. Of course, this isn’t to suggest that in the context of the naturalistic or physical world there is no Action-Consequence (A-C) connection.
As an example, if you listen to ATLiens at a high volume (Action), you may develop tinnitus (Consequence). Still, if you unproductively Believe, “This shouldn’t happen to me,” then you’ll likely disturb yourself into a sorrowful disposition (Consequence).
Thus, I help people to stop upsetting themselves through use of B-C connections, though I can’t fully resolve their A-C connections. Importantly, I invite people to understand how little control and influence they have in life while also advocating personal responsibility and accountability.
For instance, ATLiens significantly influenced how I thought, what I believed, how I felt, and the manner in which I behaved historically. However, the album didn’t control me, because I was personally responsible and accountable for my reaction to assumptions about influence from the music.
Furthermore, REBT uses the technique of unconditional acceptance (UA) to relieve suffering. This is accomplished through use of unconditional self-acceptance (USA), unconditional other-acceptance (UOA), and unconditional life-acceptance (ULA).
Additionally, foundational components incorporated into REBT relate to Stoicism—a philosophical practice valuing four virtues (wisdom, courage, temperance or moderation, and justice) as a means of achieving eudemonia—a life well-lived, as well as humanism—the process of healing oneself.
As well, REBT is influenced by existentialist principles—essentially positing that each of us will inevitably die and that we can search for purpose and meaning as a method of living a well-lived existence. Importantly, all of these techniques require frequent (and I mean daily) practice.
ATLiens
So far, I’ve addressed the importance of Outkast to me and I’ve described what REBT is. Now, I’ll conduct a song-by-song examination of how I was influenced by beliefs about ATLiens at one point in my life while contrasting my current perspective.
Setting the stage for the album, this relatively short introduction states in true existentialist fashion:
You can be sure
Some go low to get high
You may hurt till you cry
You may die (You may die)
Keep on trying (Keep on trying)
If memory serves, I was first prepared to die at nine-years-old. As well, I engaged in risky behavior during high school when befriending gang members. In fact, upon graduating high school I believed that I’d die within a couple years after receiving my diploma.
Therefore, attending Marine recruit training one month following the release of ATLiens and hearing “You May Die (Intro)” resonated with me. I was “sure” that I’d been “low” enough to “hurt” while actually looking forward to the prospect that I “may die.” Still, I kept “trying” in life, per recommendation of the song.
In the late ‘90s, I knew nothing of REBT. Now, 28 years since the release of ATLiens, I no longer experience as many lows or the level of pain to where death is preferable to life – at least not at this stage of my existence.
This is because I practice UA. Existentially, I acknowledge that I may die at any moment. Nevertheless, I find purpose and meaning despite the suffering which is inherent in life. Thus, I’m no longer trying to tolerate and accept displeasure with life; I’m actually doing in regard to productive REBT practice.
This track didn’t initially influence me beyond the behavioral response of taking the Bankhead Bounce dance with me to Brasil in 1999. However, as I aged and paid closer attention, I appreciated 3 Stacks’s verse:
This ol’ sucka MC stepped up to me
Challenged André to a battle and I stood there patiently
As he spit and stumbled over clichés, so called freestyling
Whole purpose just to make me feel low, I guess you wilding
I say, “Look, boy, I ain’t for that fuck shit—so fuck this”
“Let me explain ‘only child’ style so you don’t diss”
I grew up to myself, not ‘round no park bench
Just a nigga busting flows off in apartments
The lyricist describes a perceived intention of a rapper apparently trying to make 3 Stacks “feel low” during a freestyle rap battle. Rather than self-disturbing with the B-C connection, André 3000 used both USA and UOA in the moment.
Saying “fuck this” rather than getting fucked up by one’s own beliefs about another person attempting to provoke an unpleasant reaction is arguably a dope response afforded to those who practice UA. After all, one doesn’t have to be for the “fuck shit” of self-disturbance.
“ATLiens” –
On this track, both Daddy Fat Sax and 3 Stacks contributed lines which stood out to me in the ‘90s. Big Boi states:
Carried a lot of problems ‘round being frustrated
And now I’m sitting at the end of the month, I just made it
I, too, carried with me problems from my youth toward service in the military. Often, I was “frustrated” by beliefs about how things ought to have been – or so I assumed.
When matters generally didn’t turn out as I rigidly expected, it seemed as though I’d sometimes barely make it through life on anything more than a month-by-month basis. What I lacked at that stage of life was knowledge of the ABC model.
I now understand the distinction between prescribing and describing matters of life. Unhelpfully prescribing how things ought to have been didn’t serve me well through life. Now, I merely describe what I’d prefer to happen in various circumstances.
For instance, self-disturbance occurs when prescribing, “I ought not to have problems!” However, I find it more useful to flexibly describe, “While I prefer not to have problems, it’s illogical and unreasonable to assume that I won’t experience hardship.”
Elsewhere in “ATLiens,” André 3000 contributes:
Softly, as if I played piano in the dark
Found a way to channel my anger, now to embark
The world’s a stage and everybody gots to play their part
For the first decade after this track dropped, I haphazardly behaved as though I was smashing keys of a piano rather than playing one “softly” in the dark. On the world stage of everyday life, I pounded out harrowing melodies on my proverbial piano.
Once I learned of REBT, I realized that merely taking personal ownership of a piano while understanding and believing in CBT techniques wasn’t enough to actually get better. Commitment to and frequent practice of REBT techniques was required.
After years of habitual practice, I’ve now learned to the technique of approaching life “softly, as if I played piano in the dark.” If I “gots to” (i.e., ought to) play my part in society, which is a Stoic approach to life, then I choose to conduct symphonic music rather than provide noisy distraction.
“Wheelz of Steel” –
This song served as a memorable tune regarding my time in Rio de Janeiro, Brasil when I served as a Marine Security Guard (MSG) in the United States consulate between 1999 and 2000. In particular, 3 Stacks’s verse was a timely expression for my millennium celebration (Y2K) activities:
Drop, like tears, like For Fears, you know
“Shout, shout, let it all out,” just for my peers
And peoples who feel it’s time to unwind
Like December 31st, on nineteen-ninety-nine
Catharsis may be defined as the process of releasing, and thereby providing relief from, strong or unpleasant emotions. On the Y2K night I was to attend what was said to have been the largest beach party in history, on Copacabana Beach,” I disturbed myself.
A fellow MSG was deliberately scheduled to work instead of being able to party with me and I suspected that the Marine who created the schedule did so to prevent my friend and me from enjoying the Y2K celebration together. I wanted to “shout, shout, let it all out.”
Thus, I unfavorably believed that the once in a lifetime event shouldn’t have been hampered by a meddlesome Marine who openly bullied the other MSG and me. However, what I didn’t know back then was that I wasn’t unable to “unwind,” because I upset myself.
The scheduling conflict was nothing more than an activating event that didn’t lead to an unpleasant consequence. Rather, my unhelpful attitude created a needless reaction when I could’ve instead used UA to “unwind,” because it was actually “December 31st, on nineteen-ninety-nine.”
Unnecessary self-disturbance can ruin a moment and even years of memories thereafter if a person doesn’t unconditionally accept that while scheduling conflicts and other matters are disappointing, they don’t have to be distressing. Now, I use ULA and have no unpleasant reaction regarding the event.
“Jazzy Belle” –
Throughout my life, especially by the time I reached adolescence, I’ve been well aware of how different I am from other boys and men. A lot of males with whom I had contact in my younger years played psychological games with girls and women.
Playing hard to get, intentionally showing disinterest, and failing to honor intimate partner commitments was apparently acceptable behavior for these males. Viewing their actions as unfavorable, I appreciated how 3 Stacks began his verse to “Jazzy Belle”:
Oh, yes, I love her like Egyptian
Want a description? My royal highness
So many plusses when I bust that there, can’t be no minus
Went from yelling crickets and crows
Bitches and hoes to queen thangs
Over the years, I been up on my toes and, yes, I seen thangs
Like Kilroy, chill boy because them folks might think you soft
Talking like that, man, fuck them niggas, I’m going off
Guys who expressed gratitude for females were sometimes called “soft” in the ‘90s. For instance, I was on a first name basis with at least three florists when in high school, because I practiced the art of romance. Such behavior was considered weak by other boys.
For a time, I disturbed myself with beliefs about how different I seemed to be. Still, this track is one that influenced my assumptions and resolved self-disturbance at the time.
Through the lens of REBT, I recognize that André 3000 essentially used a shame attacking approach to life. He was apparently determined to openly express his affection for women instead of upsetting himself with unhelpful beliefs.
From his example, I, too, decided that “going off” and living my life in accordance with my interests and goals was preferable to acting in an inauthentic manner. For the example of how to dismissively let go of opinions from others, I’m glad for the influence of ATLiens.
If there’s a single track from ATLiens about which most people I’ve come across know, even those who aren’t fans of rap, it’s “Elevators (Me & You).” Perhaps this is because the track is featured twice on ATLiens.
I enjoy both the original version and remix. Something about the chorus is catchy enough that people tend to remember it more than other verses on the song:
Me and you
Your momma and your cousin, too
Rolling down the strip on Vogues
Coming up, slamming Cadillac doors
Aside from the melodic chorus, it was the final verse from 3 Stacks that I most appreciated from the track, because it influenced my perspective regarding fame:
Got stopped at the mall the other day
Heard a call from the other way that I just came from (“Ayy”)
Some nigga was saying something
Talking ‘bout smoke something
“Hey, man, you remember me from school?” “No, not really”
But he kept smiling like a clown, facial expression looking silly
And he kept asking me, “What kinda car you drive?
I know you paid. I know y’all got beaucoup hoes
From all them songs that y’all done made”
And I replied that I’d been going through the same things that he has
True, I’ve got more fans than the average man
But not enough loot to last me to the end of the week
I live by the beat like you live check-to-check
If it don’t move your feet, then, I don’t eat, so we like neck-to-neck
Yes, we done come a long way like them slim-ass cigarettes
From Virginia, this ain’t gon’ stop, so we just gon’ continue
I used to imagine how glamorous it was to be a celebrity. As an example, overgeneralizing about how improved was the experience of life rappers enjoyed than was my understanding of existence, I used a negative global evaluation of self.
“My life sucks, because although many rappers and lyricists came from hard times like me, they at least make a lot of money and people love them. Here I am, from a similar background, though I’m not worth shit,” is something along the lines of how I assessed myself.
Without knowing of REBT when ATLiens dropped, I was able to dispute my irrational belief through use of André 3000’s description of his life. Although he was quite popular, he still experienced struggles while committing to continually striving for success.
Interestingly, 3 Stacks didn’t actually continue his craft. In a fairly recent video, the lyrist stated:
I’m 48-years-old, and not to say that age is a thing that dictates what you rap about, but in a way it does. Like, things that happen in my life, like what’re you talk…like, “I gotta go get a colonoscopy”? Like, what do you rap about? You know’mean? Like, my eyesight is goin’ bad?
At 47-years-old, I view “Elevators (Me & You)” differently than I once did – especially considering the lyricist’s perspective on age. Rather than concluding that “this [momentum] ain’t gon’ stop, so we just gon’ continue,” I opt for a good enough standard of living – which is a successful strategy in its own right.
“Ova da Wudz” –
Admittedly, this was and remains my least favorite song from ATLiens. In fact, there’s only one line I consider worth examining herein. 3 Stacks states, “Who knows what I must face when I leave this recording booth?”
It’s worth noting that demandingness narratives come in different types. As an example, if André 3000 were to say to himself, “I must be safe when leaving this recording booth,” this would be an example of an absolutistic must statement.
Inflexible beliefs of this variety aren’t necessarily helpful. For instance, suppose 3 Stacks leaves the booth and is immediately punched in the face by the audio engineer. When the lyricist’s rigid demand isn’t fulfilled, he may disturb himself into a miserable condition.
However, I suspect that when he states, “Who knows what I must face when I leave this recording booth?” the lyricist is using an empirical must narrative. With this belief, a person is acknowledging that a set of conditions exist in order for predictable outcomes to occur.
Thus, 3 Stacks acknowledges that he cannot live in the recording booth, as he must eventually leave. This is empirically true, as it’s highly improbable that an entertainer will enter a recording booth and not be required to exit at some point.
Empirical must narratives of this variety aren’t self-disturbing. Thus, when working with clients through the process of disputation, I listen closely for whether or not one’s personal narrative is irrational, empirical, or otherwise.
“Babylon” –
Although I practiced the art of romance in adolescence and throughout early adulthood, intimate partner bonds were mostly difficult for me to maintain. Regarding this matter, I self-disturbed quite a bit. In “Babylon,” Daddy Fat Sax summed up my B-C connection when rapping:
People don’t know the stress I’m dealin’ with, day to day (Day)
Speakin’ about the feelings I’m possessin’ for Rene
Mopin’ around and wonderin’ where she stay; saw her last that she lay
“Give it another day,” I say, but the Lord, He taketh away
Now give it back, Lord, ‘cause that’s like backboards without the rims
There was a time when I practiced religious faith and wondered how it could be that a divine master was apparently so cruel that “He taketh away” the girls and women to whom I was romantically connected as a teen and adult. Without them, I unproductively believed that I was “like backboards without the rims.”
As I later developed competency with REBT, I realized that there was no divine intervention causing my romantic relationships to fail. I was the common denominator in each of those connections. Thus, I could take personal ownership for my reactions to failure.
After all, if carrying around stress from “day to day” became overwhelming, I could simply stop carrying on as I’d done. Thus, I used UA and stopped “mopin’ around and wonderin’” why I believed matters were awful when in actuality they were tolerable.
“Wailin’” –
To me, “Wailin’” seemed more like an interlude than a song when the album initially dropped. Nevertheless, I appreciated that both lyricists were surgical with their precisely-delivered verses. In particular, I liked how 3 Stacks expressed:
I felt the pressure like sun shining, while rainin’ (Wailin’)
At the same time, I kept on rhymin’, not complaining
Storm brainin’ cats and dogs, my catalog be the size of golf balls (Wailin’)
Wailing occurs when an individual experiences a usually prolonged cry or sound expressing grief or pain. For the first half of my life, I wailed more than I care to admit. Notably, childhood trauma, failed intimate partner relationships, and other events didn’t cause this reaction.
While those undesirable circumstances actually occurred, it was my belief about such events that caused “pressure like sun shining, while rainin’.” Therefore, as discussed throughout this blogpost, it was frequent use of REBT that resolved the storm clouds within my mind.
“Mainstream” –
I listened to ATLiens throughout my time undergoing Marine Combat Training (MCT) after boot camp. Closing my eyes as the song currently plays, I envision Camp Pendleton, California. There, I was mentally and emotionally entangled in mainstream irrational beliefs concerning my abilities.
Was it a fluke that I’d made it through Marine recruit training? Would I be able to succeed when entering the fleet Marine force following the conclusion of my training? What if I failed in military service, returning home, and people recognized me for the failure I believed I was?
I self-disturbed in grand fashion. Noteworthy, while much of the lyrical content regarding “Mainstream” is worthy of examining, it’s the contribution to the track by Khujo, of Goodie Mob, that most resonated with me during MCT:
Think it is when it ain’t all peaches and cream
That’s why some are found floating face down in the mainstream
The chain of unproductive beliefs I used during MCT didn’t lead to a “peaches and cream” experience of pleasantness. Rather, I found myself “floating face down in the mainstream” of irrationality.
Still, I made it through boot camp, MCT, my military occupational school, my first duty station, MSG school, different posts in South America, and then on to my final duty station – at which point I was kicked out of the Marine Corps. Face down in the mainstream, I returned.
A couple decades since experiencing administrative and legal problems in the Corps, I’m grateful for the technique of ULA. Likewise, I’m glad to have been influenced by ATLiens and Khujo’s reminder about how cognitive processes can lead to unpleasant consequences.
“Decatur Psalm” –
This track reminded me of some of the criminal activity in which I may or may not have engaged in high school. In young adulthood, I appreciated how the song described realistic outcomes for choosing to engage in such behavior. In particular, I liked how Daddy Fat Sax stated:
[T]hem niggas at the corner sto’ been looking at me for too long
Staring like accidents on highways, high days are better than sober ones
I recall a time in high school during which an unmarked van was positioned several homes from mine for approximately a week. In it, I observed two men who stared “like accidents on highways.”
During that moment in life, I wanted to escape the unpleasant consequences of my beliefs about the event. However, unlike Big Boi who stated “high days are better than sober ones,” my form of escapism wasn’t through use of alcohol or illicit drugs.
Rather, my go-to mechanism for avoidance was music. Now, and although I appreciate tunes which provide catharsis, I use REBT to get better rather than to merely feel better.
Also, I no longer engage in similar behavior that likely resulted in an A-C connection of an unmarked police van being parked in my neighborhood. At this time in life, music augments my experience with unpleasant consequences rather than helping me to ignore such moments.
“Millennium” –
Under most circumstances, I wouldn’t praise the chorus of a track such as that featured on “Millennium.” However, because of nostalgia for ATLiens, I admit to appreciating 3 Stacks’s repetitive use of, “Uh, uh, uh, uh, uh, uh uh, uh uh uh uh uh.”
One of my most adored tracks on ATLiens, André 3000’s first verse states:
Me and everything around me is unstable like Chernobyl
Ready to go at any moment, jumping like a pogo stick
Life never lived up to my expectations, so I accept the patience
Expect the worse, but now I’m pacin’ back and forth
Inside, I’m melting like water on wicked witches
A monster truck done came and ran over my picket fences
I had the best of life in my clenches, but monkey wrenches was thrown
Like chairs kings sit on, my prayers seem too long
I fall asleep before the ending, don’t even get to say “amen”
I hope He understands I be on bended knees
At times, I think I’m crazy, then I say “forget it”
Or maybe it’s the devil infiltrating and, like Riddick
Bowe, I’ve been fighting this since them fetus days
I count from one to twenty; when I’m through, repeat the phrase
“It’s just a phase, it’s gon’ all pass”, but that gets old, too
I’m weakenin’ like a deacon doing dirt
What am I s’posed do?
No matter how self-disturbed I was from adolescence till early adulthood, listening to 3 Stacks’s verse on “Millennium” was an effective method of lightening my mood. The lyricist described life in a manner as though he had direct access to my B-C connection attitude.
All these years later, I realize that one of the most powerful features of the verse is that no matter what André 3000 experienced, he used self-talk to rationally address his circumstances. Even though this technique doesn’t resolve undesirable events, it allows one to change an unhealthy outlook to a healthier one.
For instance, on a regular basis, I use a modified version of 3 Stacks’s ULA narrative “Life never lived up to my expectations” by internally saying to myself, “Life rarely lived up to my expectations.” With this healthy outlook “I accept the patience” ULA offers.
Likewise, André 3000 states, “I’ve been fighting this since them fetus days,” which represents resilience concerning the practice of high frustration tolerance (HFT). The catchphrase of LFT is “I can’t stand it” while HFT expresses that “I got this.”
To elucidate, consider that “fighting” the experience of suffering “since them fetus days” isn’t desirable or pleasant. It’s understandable how a self-disturbing LFT narrative may unproductively determine, “I can’t stand to suffer!”
However, at the time 3 Stacks released ATLiens, the lyricist was 21-years-old. From an HFT perspective, the lyricist was able to tolerate and accept suffering for over two decades irrespective of whether or not doing so was desirable or pleasant.
Therefore, while it may suck to suffer, 3 Stacks has got this unpleasant experience under tolerable management. Aside from André 3000’s meaningful stanza, Daddy Fat Sax dropped a thought-provoking verse that helped me tolerate disappointment later in life:
When your back was turned, them slackers learned and now we fallin’ apart
You lookin’ me in my eye, but you ain’t feelin’ me in your heart
Yes, yes, Lord, give me the power; we livin’ the final hour
These niggas, they leavin’ me stranded like Rapunzel in the tower
Now or never, let’s stick together and overcome
But they don’t feel like marching, ‘cause they shoes is overrun
Ain’t that a bitch?
When in graduate school for social work, I identified as an activist. After lifelong experience with what I appropriately categorize as oppression, I wanted to change systems which contributed to oppressive actions against others.
At that period in my life, I ignored B-C influence and irrationally concluded that A-C connections were responsible for suffering and therefore various entities should’ve been held accountable for their actions. Foolishly, I thought my reactions in this regard were good.
Yet, I disturbed myself when discovering that my activistic peers apparently cared little about justice and were instead fixated on social justice—a subjective form of grievance-airing for little more than whining to achieve one’s rigid demands. Thus, I upset myself quite a bit with opposing demands.
When I finally admitted to myself that my peers weren’t motivated for marching (activism), likely because their personal bias outweighed social aims (shoes being overrun), I thought to myself, “Ain’t that a bitch?” Then, I used UA to un-disturb myself.
Since that time, I’ve unconditionally accepted that I have control over only myself (to a limited degree) and very little influence over other people. Moreover, attempting to “change the world” for an objective when earning a degree in social work was naïve.
After all, a massive fire may raze a house to the ground. That’s change. Contracting Ebola may cause death. That’s change. Likewise, feminism spreading like cancer may change a society. However, not all change within the world is good, righteous, or necessary.
The influence of ATLiens, regarding how outcast I believed I was in high school, was reflected in 3 Stacks’s verse on “E.T. (Extraterrestrial)”:
Right now, I’m smiling, taking advantage of this moment
‘Cause there might not be another soon
Holding on to memories like roller coaster handle bars
Tightly, ‘cause I’m slightly off my rocker
But to you I may appear to be your average Joe
But little do you know that even Joe got problems that he gots to joust with
Floating in this game of life despite how out of place you may feel
Colloquially, the manner in which a person “may feel” references how an individual believes and not that person’s emotions or bodily sensations. Minor distinction aside, the lyricist encapsulated how it was I made it through teenage years and early adulthood.
Being that I didn’t plan on living past my early 20s, I took advantage of the moment in which I lived and held tightly to “memories like roller coaster handle bars.” Unfavorably, some of those recollections were of a self-disturbing nature.
For instance, I kept a meticulous mental list with unpleasant emotional records of those who I believed had harmed me. To the world outside of my head, I may’ve appeared “to be your average Joe,” though I carefully cultivated problems with which I contended.
Thus, “floating in this game of life despite how out of place” I believed I was aggravated my B-C connection. Noteworthy, the hook of this track states, “Out of this world. Are you alien?” Truly, it was as though I a foreign visitor in relation to others who I’d perceived weren’t suffering as I was.
Using both the ABC model and UA, I still believe I’m quite different in regard to most people with whom I’ve ever interacted. However, I’m no longer disturbed by this fact.
Even if choosing to believe that I’m alien concerning what appears to be the norm, I unconditionally recognize that this is the experience of a fallible human being. In this regard, I’m not so different from every other imperfect person with whom I share the planet.
Although Big Rube’s introductory poem with anti-gay sentiment may not be popular in the current day, I’ve appreciated how he ended “13th Floor” by stating, “Stand with us and don’t look back upon. Just face this mind state. Otherwise, Babylon.”
The artist’s words meshed well with my former religious teaching when ATLiens was released. Big Rube evoked the biblical lesson of Lot’s wife who was instantly punished for wavering from the path she was told to follow (i.e., not looking back upon Babylon as it was being destroyed).
In my younger years, I appreciated the reference with encouragement to stand upon principles. When André 3000 told the audience at the 1995 Source Awards that the South had something to say, he wasn’t toying around.
Reflecting upon Big Rube’s words through the lens of REBT rather than a faith-based perspective, I appreciate that ATLiens influenced listeners to consider morals, ethics, and principles. Now, I use a similar approach to psychotherapy.
Rather than telling clients what they should, must, or ought to believe, I influence people by inviting them to consider the moral, ethical, and principled framework upon which their beliefs are based. Leaving this matter of what to believe up to self-determined and autonomous individuals is a key to my approach.
Functioning from a humanist perspective, I recognize that people have personal agency and some degree of free will. As such, I examine logic and reason that underlay beliefs though I don’t prescribe how people ought to believe.
In any case, the hook of “Growing Old” is sung by the melodic Debra Killings and states:
Something’s gotta change
Sounds of laughter and happiness turn my teardrops to rain
Been bearing this burden for too many of my days
Looks like breezes of autumn done finally blew my way
Like memories of yesterday
In stiff competition with “Millennium” for my favorite ATLiens track, the hook of “Growing Old” relates to the melancholic point of realization at which I arrived when becoming an adult. All things shall pass – even joyous, pleasurable, and happy instances in life.
By expressing that “something’s gotta change,” Killings uses an empirical must narrative. While a person may be happy in one moment, things inevitably must change in a separate moment. More importantly, there’s no need to self-disturb about this fact.
The “memories of yesterday” increase with “growing old” and this is as life truly must be. Accepting this fact without condition is an existential component of UA. At any rate, one of André 3000’s verses on “Growing Old” changed my worldview in the moment that I first heard it:
Our dearly beloved, we are gathered like soap is to lather – we come clean
Some issues need to be addressed, like envelopes I mean
Oh, like Liberty Bells, yes them bullets keep on ringing
On fire like the Georgia Mass Choir, we keep on sanging
Bringing our folks closer together, ‘cause they severed us from the get green
Light and we ain’t gon’ stop until we hit the big screen
Psyche, because no one is free when others are oppressed
So, we hit the stage and then we fly back to our nest
Growing old
In this verse, 3 Stacks uses a recommendatory must statement by expressing that “some issues need to be addressed.” This isn’t a self-disturbing narrative, as it merely recommends what must be done without inflexibly demanding what must occur.
For instance, the lyricist expresses valuing the people who supported him and then planning to forget them when he achieves fame. André 3000 then uses a popular phrase from that era by stating “psyche,” meaning he’s joking about the matter.
This is presumably due to the notion that 3 Stacks helpfully believes he must support other people, especially those who’ve supported him. I infer this from the lyricist saying that “no one is free when others are oppressed.”
This single line stood out to me more than any other on ATLiens and I was influenced enough by the principle of supporting other people that I tattooed the phrase on my body when in grad school for social work. As I’m “growing old,” I adhere to this recommendatory principle.
Herein, I’ve addressed the importance of Outkast to me, described what REBT is, and conducted a song-by-song examination of how I was influenced by beliefs about ATLiens at one point in my life while contrasting my current perspective. It was enjoyable for me to have revisited the album and I hope you’ve benefitted from this process.
Conclusion
Although there’re many hip hop artists who’ve shaped my perspective throughout life, only Outkast and the influence of ATLiens was impactful enough to devote a significant portion of my time toward examining. No other rappers or lyricists received an entire album review within my blog.
Because I didn’t know about REBT in adolescence or early adulthood, it was ATLiens that helped me to accept myself and many issues related to the level of suffering which is inherent in life. For their contribution to my personal growth, I’m grateful for André 3000 and Big Boy’s music.
Perhaps you, too, have needlessly struggled in life without proper understanding about how to un-disturb yourself. Maybe you’ve turned to music as a matter of escapism. Perhaps ATLiens has also been of significant help to you.
Would you like to know more about how REBT may be able to help you take control over your own life, influence matters within your ability to change, and unconditionally accept all else? If so, I look forward to hearing from you so that you may “face this mind state. Otherwise, Babylon.”
If you’re looking for a provider who works to help you understand how thinking impacts physical, mental, emotional, and behavioral elements of your life, I invite you to reach out today by using the contact widget on my website.
As the world’s foremost old school hip hop REBT psychotherapist, I’m pleased to help people with an assortment of issues from anger (hostility, rage, and aggression) to relational issues, adjustment matters, trauma experience, justice involvement, attention-deficit hyperactivity disorder, anxiety and depression, and other mood or personality-related matters.
At Hollings Therapy, LLC, serving all of Texas, I aim to treat clients with dignity and respect while offering a multi-lensed approach to the practice of psychotherapy and life coaching. My mission includes: Prioritizing the cognitive and emotive needs of clients, an overall reduction in client suffering, and supporting sustainable growth for the clients I serve. Rather than simply helping you to feel better, I want to help you get better!
Deric Hollings, LPC, LCSW
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