West Savannah by OutKast Lyrics Meaning – Unearthing the Roots of Southern Grit
Lyrics
I’m back off in this bitch
One more time, to drop this rhyme
‘Bout where my roots at
Yeah, Westside is in the house
Frazier Homes is in the house
Cloverdale is in the house
And Savannah, GA is in the house, so check it
February 1st, 1975 it happened
Was born in West Savannah way before I started rappin’
My mamma had a nigga at the age of fifteen
My daddy was sellin’ that sack, now he’s gots responsibilities
Stayed at me granny’s while me mammy was at work
And she couldn’t watch my every move so shit I started servin’
Around Frazier Home, down in the West Side projects
Changin’ over foodstamps, and hittin’ a lick was next see
I’m just a playa like that, my jeans was sharply creased
I got a fresh white t-shirt and my cap is slightly pointed East
So flyin’, or floatin’, a Brougham is what I’m sportin’
Sade is in my tape deck, I’m movin’ in slow motion boi
So meet me deep in the streets that’s where I learned the capers
Us lickin’ blunts, lickin’ leaves, rollin’ reefer papers
I’m slightly slouched, in the seats off in my bucket
But the niggas around the ave. and the hoes, they love me
They wanna be me and my family too
Because the money that I make be puttin’ cable off in every room
So follow the fiends, follow my lead through the nooks and crannies
It’s everyday life off in my hood so come and holla at me
But go ‘head on, with that foolishness bitch
Let me get lovely with my swerve because I’m true to this shit
And if you comin with eight dollars, you shit out of luck
Because the West Side ain’t takin no shorts on the dime
So fire it up
Now, now, now, nine in my hand, ounce in my crotch
Diggin’ the scene with a gangsta slouch, mmm, hmm
(Like that now, like this, and it don’t quit, and it don’t stop)
Nine in my hand, ounce in my crotch
Diggin’ the scene with a gangsta slouch, mmm, hmm
(And it don’t stop, and it don’t quit, it’s like that and ah)
See, niggas in the South wear gold teeth and gold chains
Been doin it for years, so these niggas ain’t gone change
They comin’ around the ghetto so you might call ’em soul
Been wearin’ furry Kangol’s, so that shit is old
You might slang a rock or two just to pay the rent
Five dollars for a table dance so now your money’s spent
You listen to that booty shake music in your trunk
As long as there’s that “tic tic” followed by that bump
I’m down to stick a ho if she got a G-string
‘Cause the niggas in the Point ain’t changed, mane
You might call us country, but we’s only Southern
And I don’t give a fuck, P-Funk spot to spark another
Now, now, now, nine in my hand, ounce in my crotch
Diggin’ the scene with a gangsta slouch, mmm, hmm
(Like that now, like this, and it don’t quit, and it don’t stop)
Nine in my hand, ounce in my crotch
Diggin’ the scene with a gangsta slouch, mmm, hmm
(And it don’t stop, and it don’t quit, it’s like that and ah)
Now, now, now, nine in my hand, ounce in my crotch
Diggin’ the scene with a gangsta slouch, mmm, hmm
(Like that now, like this, and it don’t quit, and it don’t stop)
Nine in my hand, ounce in my crotch
Diggin’ the scene with a gangsta slouch, mmm, hmm
(And it don’t stop, and it don’t quit, it’s like that and ah)
Now, now, now, nine in my hand, ounce in my crotch
Diggin’ the scene with a gangsta slouch, mmm, hmm
(Like that now, like this, and it don’t quit, and it don’t stop)
Nine in my hand, ounce in my crotch
Diggin’ the scene with a gangsta slouch, mmm, hmm
(And it don’t stop, and it don’t quit, it’s like that and ah)
Hold on, I’m ’bout to call my girl
(I’m ’bout to see how weak yo ‘game is?)
Shut up ol’ sissy, you ain’t even got one
Sissy? Who you callin’ sissy?
shut up
Hello?
Wassup?
Wassup?
(Missy, get yo’ ass in here)
I gotta go
Hold up, wait
Marcus- Marcus wanna know if he can get some cut-up
Some cut-up?
Ain’t no cut-up going here
I’ll cut y’all ass up
In the world of hip-hop and rap, few songs resonate with the vibrancy and authenticity of OutKast’s ‘West Savannah.’ The track is not just a lyrical exploration of one’s background; it is a profound narrative sewn with the fabric of southern culture, personal struggle, and the indomitable spirit of a community. Exploring the depth of this track reveals more than just lines of a song – it signifies a powerful statement on identity, resilience, and the complexities of the American South.
Dropping as a deep cut from OutKast’s 1998 album ‘Aquemini,’ ‘West Savannah’ isn’t as flamboyant as some of the duo’s bigger hits, yet it stands as a deeply personal reflection from member Big Boi. Here, we decode the evocative lyrics and expose layers beneath the vibrant beats and smooth flow, baring the soul of West Savannah while touching on broader themes of African American history and experience.
Roots in the West Side Soil: The Chronicle of Beginnings
From the outset, ‘West Savannah’ sets the scene – the date of Big Boi’s birth and the specific location are not mere details; they anchor the rapper’s whole existence and the story that unfolds. It’s a tale of coming-of-age amid adversity, as explored in the lines detailing early life and familial context. Born to a young mother and a father hustling to shoulder ‘responsibilities,’ the setting is vivid: the Frazier Home projects, an incubator for the struggles and triumphs that would shape a young man.
The honesty with which Big Boi portrays selling ‘food stamps’ and ‘hittin’ a lick’ speaks volumes on the socio-economic background that many can relate to. His narrative is one shared by many African Americans who’ve found themselves in the clasp of systemic poverty and the pull of the streets. However, in this struggle, the lyrics also touch on agency and self-determination, suggesting a robust capacity to navigate and survive within the systems at play.
The Style and Swagger: Fashion as a Symbol of Identity
‘I’m just a playa like that, my jeans was sharply creased / I got a fresh white t-shirt and my cap is slightly pointed East.’ The apparel is more than clothing; it is emblematic of a crafted identity. Creased jeans, fresh tees, and the direction of one’s cap speak to an intricate code of presence, signaling one’s place and perspectives within a broader culture.
OutKast often heralded the intrinsic link between self-expression and fashion. The minutiae of attire become a powerful tool for self-definition and community association, allowing those from the same roots to visually and culturally connect. This form of expression stands against the homogenous narrative often imposed from outside the community.
Lyrical Landscapes: Painting Pictures of the Gritty South
In his verses, Big Boi crafts a vivid tapestry of his environment, from the concrete of the streets to the vibrancy of the local characters. Coupled with vibrations of Sade from the tape deck, the juxtaposition offers a full spectrum of emotion – from the rugged hustle to moments of introspective calm. This layered portrayal of life in West Savannah challenges monolithic representations of Southern black communities in mainstream media.
It’s a panoramic view shared through lyrics, encapsulating the lived experiences of individuals often unseen or misrepresented. Herein lies the power of OutKast’s art: bringing authenticity and nuanced storytelling to the forefront, painting the Southern narrative with broad strokes of reality and resilience.
The Anthem of Resilience: ‘Nine in My Hand, Ounce in My Crotch’
These lines recur like a chant, an anthem of the streets that encapsulates the duality of life in West Savannah. ‘Nine in my hand, ounce in my crotch’ – it’s emblematic of the defense mechanisms and entrepreneurial spirit that emerge from circumstances of poverty and systemic marginalization.
It’s not just about guns and drugs, but survival and resistance. The ‘gangsta slouch’ isn’t merely a posture; it’s a stance against the winds of challenges, signifying the grit required to navigate and ascend from the depths of socio-economic despondency. In the repeated refrain, one can feel the pulsating heart of a community intent on thriving against the odds.
The Hidden Meanings: A Cultural Critique Wrapped in Rhyme
Amid the bass and the beat, ‘West Savannah’ conceals a depth of social commentary. The ‘gold teeth and gold chains’ allude to a rebellious self-affirmation within the black community, while the ‘furry Kangol’s’ and the ‘booty shake music’ hint at an entrenched lineage of Southern black culture.
But beyond the cultural artifacts, the song critiques societal structures and calls for a reassessment of values and perceptions. The ‘nine’ and ‘ounce’ could very well symbolize the weight of history and heritage that each person from West Savannah carries – a complex blend of pride, pain, and the pressure to persist.
