Hip-Hop and Comics

The Universe of Hip-Hop and Comics has long coincided as one for fans alike. Both these realms have devoted fan bases towards specific characters and artists that they feel they resonate most with or can escape their own realities from. The interconnectedness of mediums could have been done long before but the first mainstream exposure was Big Bank Hank on the classic song Rapper’s Delight. Hank attempts to convince Lois Lane to come with him by explaining how much more fly he is than Superman.

After going to San Diego’s Comic-Con and witnessing the panel Hip-Hop and Comics: Cultures Combining hosted by Patrick A. Reed, the idea cemented itself for my need to write this piece. The panel included the likes of Turner Lange (creator of Wally Fresh), Kenny Keil (Artist/MAD Magazine), Carolina Cooney (History of Comics Instructor), James Reitano (NineTeenEightyFive), Ted Lange (Warp Zone), Deity (graffiti artist), and none other than Murs (one of the most notable Hip-Hop artists that loves comics). The discussion varied from their personal stories to influence of both Hip-Hop and comics in their lives. One of the most illustrious topics discussed was the objectification of women in Hip-Hop that is often presented and the relation of that in comics/anime. The business world likes to keep their male viewers/readers “happy” therefore insert women that are appealing to the eye. Most companies fail to realize that about half of their fan bases are women; who have become tired of being exhibited as nothing but sex symbols. Which is why the popularity of comics such as Bitch Planet by Kelly Sue DeConnick has skyrocketed contrasting what has become stagnated patriarchy. Deity, whose name means goddess, uses Sailor Moon influenced female characters in her graffiti to represent strength and the empowerment of being in a male-dominated sector.

In Hip-Hop, women are often degraded and looked as “bitches” therefore of no value. G-Eazy, a rising rapper with a persona of a Casanova often depicts one night stands with women such as this verse on Get Away ft. Kehlani … “I'm like an addict how I have to smash / I'm always leaving fast, she think I am The Flash / Cause she's never catching a man.” Flash is referenced in this case for the ability to leave situations in a hurry and not being able to be seen. Then you have J. Cole who uses contexts of characters to his own vulnerabilities, “and even in your lowest days / When you're no longer Superman, at least you know you got Lois Lane.” Despite knowing how much of a powerful, independent, and intelligent woman he has, he still chooses to Runaway for the lack of commitment to faithfulness.

Wu-Tang Clan has been the forefront of the comics and Hip-Hop blend. For example, Ghostface Killah refers to himself as Tony Stark (Iron Man) and Method Man to Johnny Blaze (Ghost Rider). The influence led Ghostface to create a concept album based on the comic book 12 Reasons to Die which is titled by the same name. Most recently, Adrian Younge and Ghostface released the sequel of the classic album. RZA did the score for the anime TV series Afro Samurai which starred Samuel L. Jackson. The studio album Wu-Massacre cover art was created by Marvel Comics artist Chris Bachalo and Tim Townsend which was hugely depicted influence of comic book covers. Inspectah Deck (Wu-Tang member) plus the duo of 7L and Esoteric combine as CZARFACE which their studio album of the same name has artwork that spurs from comic books. This lead to their sophomore album Every Hero Needs a Villain also replicates the creative style.

From the Wu-Tang Name Generator came the alias of Donald Glover, Childish Gambino. His career began as a screenwriter for 30 Rock, standup comedian, and an actor for Community before finally pursuing a rap career in which he was not taken seriously. Gambino was always portrayed as a “black nerd” and in midst of the new Spider-Man franchise was considered for the role in a geek blog thread. Donald tweeted #DonaldForSpiderman and the world went into a whirlwind for the potential change in the Marvel Comic Universe. Recently, he was cast in the voice role of Disney/Marvel’s Ultimate Spider-Man: Web Warriors as Miles Morales. Childish Gambino on Not Going Back states, "Couldn't see me as Spider-Man, but now I’m spittin’ Venom / Now you're payin’ attention / Pick your f*cking face up / When I want to be a superhero I just wake up." These bars depict the idea that an artist must embrace their art and believe in the idea that they have superpowers despite classification of being “human.” These powers are often categorized as an ego due to the protection of self from critics. Gambino’s essence as a rapper is to speak for those that don’t necessarily “fit in” to the idea of Hip-Hop.

Donald Glover is greatly inspired by the likes of Kanye West who has transcended barriers during a time of gangster rap and lack of self-consciousness. This leads me to Power, “Screams from the haters, got a nice ring to it / I guess every superhero need his theme music.” With success, one attracts those that hate you and they do so as much as those that love you. Many artists cannot handle the negative energy and hideaway. As an artist one often times carries valuable ideas yet they remain capsulated due to the fear of failure. Though, one has to realize that creativity is embedded into us only to be restrained by “grown thoughts.” The struggle is relearning a childlike mind state in a world that restricts/suppresses it. The comparisons of inner child vs. ego in that (by common belief) they are on different spectrums and not one in the same. In reality, the inner child is focused on joyfully expressing its desires without feeling the burden of being molded by outside pressures because it loves itself. Rather, the ego is fixated on survival, trying to be accepted and loved by others. The constant fear of rejection is what fuels the ego to shapeshift into whatever situation is presented. Most artists are looking to obtain pure recognition/understanding of his/her inner child while battling their ego; not realizing that they are two different sides of the same entity. They must accept both in order to complete the self and embody their full potential as real-life superheroes.

Eminem is a great example of an artist that showcases lyrical abilities, witty metaphors, and various personas of comic characters/alter-egos. The video for Without Me references comic books with the storytelling throughout, panels for the scenes, and dialogue bubbles for the characters. Eminem acts as “Rap Boy” in the video in which he pursues to save a young boy from playing a parental advisory version of his CD. Eminem has many lines which depict his rapping abilities to a certain character in the comic realm, one of the most notable is in On Fire, “Hot-headed as Ghost Rider, cold-hearted as Spider-Man throwing a spider in the snow.” His brutality on the mic is exemplified thoroughly with allegories of characters. His friendship with 50 Cent sparked the song Gatman and Robin and their video also highly influenced by Batman and his sidekick.

Jay Z’s album Kingdom Come dropped after an early retirement. This is a reference to the DC Comics’ graphic novel of the same name in which older superheroes return after a hiatus to take hold of their world. The lines from the song Kingdom Come that best describes HOV’s temporary disappearance from the game is “I been up in the office you might know him as Clark / But, just when you thought the whole world fell apart / I - take off the blazer loosen up the tie / Step inside the booth Superman is alive.” Jay Z has shifted to strengthen his personal brand as well as wealth by becoming a businessman. Until he realized the game needed him to return and save the state of Hip-Hop. From his So Appalled verse, “Dark Knight feeling, die and be a hero / Or live long enough to see yourself become a villain...” which alludes to the idea that one must know when their moment of fame or skill has gone out the window or your career will be condemned to mediocrity.

Many rappers names are directly influenced by comics such as MF DOOM (Dr. Doom), Jean Grae (Jean Grey), Big Pun (The Punisher), and David Banner (The Hulk). While up-and-coming artists like XV and KYLE rap about being “proud weirdos” for their obsession with the comic/cartoon world. Then, Lupe Fiasco who uses articulated metaphors to better illustrate his message. In his song, I’m Beamin’, “Hood's where the heart is / Nerd's where the words from,” exemplifies the idea that is often suppressed in minority culture which is the ability to be smart/express ideas. By understanding a variety of stories and themes that are weaved into comics, young adults are better able to create connections that make them more skilled writers.

Marvel recently released a mashup of classic Hip-Hop albums with their characters which were taken relatively positive by diehard fans. Although, it was not an original idea due to Kenny Keil (one of the panelists at Comic-Con) having done it 5-years prior. For Kenny, “It was a true homage to my favorite mediums: It was music, it was comics, it was comedy. It was one of the purest expressions of self I’d ever achieved with the pen. It was me.” He wrote a thought out piece on the subject matter and his feelings regarding the event of Marvel’s “commercial merit” towards the cultural appropriation of Hip-Hop and comics. As aforementioned the "Big 2" comic companies have failed to truly place African American’s (or minorities) in leading roles in their Universes nor diversify their perspectives. Yet they leech off of the Hip-Hop culture embedded throughout our lives and don’t embrace it because of what? Most likely because they are afraid it will fail when in reality, society is desperately waiting for diversification of casts rather than the regurgitated by-product.

But there seems to be a reason to keep the faith, Axel Alonso is an avid Hip-Hop fan who is Editor-in-Chief of Marvel Comics once vacated by Stan Lee. Billboard asked him to provide examples of the Hip-Hop influence for the future; most embrace dark-skinned characters and powerful women. This wouldn’t be right without the mention of the Hip Hop Family Tree books by Ed Piskor which is the prominent example of storytelling throughout the history of Hip-Hop. The panels include reenactments of prominent artists’ first encounters with each other or the foundation of their art form.

Art, all in all, is the expression of self and what seems to channel through us. Musicians create songs as a way of explaining their own worlds through words and sounds. Artists create comics as way cultivating their own worlds with images and storytelling. Often we may feel frail or helpless in which we reach out towards characters and portray ourselves as them. Whether that is to protect ourselves or as a means to show relatable feelings through their eyes. The main point is that art is to be done from passion and perspective of the hardships one has; not for the commercial benefit [nor to be swayed by commercial influence]. An extension of passion is monetary value but it should never be the driving force of creation. What I am saying is there must be harmony in the unification of both art forms rather than unoriginal comparisons and often authenticity is extracted away through the corporate filter. Innovation comes from the concrete belief in one’s creativity and with that, change occurs.

Written by Erik De La Cruz