Even though the rapping was a bit rough around the edges (and the persona even moreso), the very idea of a “cartoon rapper” challenged pre-existing notions of rap “realness.” Murphy also played into FlyLo’s fascination with animation as a highly visceral extension of sound, as seen in videos like “ Putty Boy Strut” and “ Zodiac Shit.Ironic DaBaby memes stem from comparisons between American rapper DaBaby's head shape and Chrysler PT Cruiser, first drawn in April 2019 by an unknown person. The character’s reveal was closely tied to animation: there was a video of the Captain Murphy origin story, and an Adult Swim–premiered short film mixtape called Duality, which spliced random footage with 3D renderings of Homer Simpson and other cartoons. I wanted to create something new.” “Afro Samurai” (2007)ĭuring the summer of 2012, there was a race to expose the bassy voice behind the mysterious Captain Murphy persona, a cartoon rap villain named after a character from the Adult Swim cartoon “Sealab 2021.” After early speculation pointed to an Odd Future affiliation, Captain Murphy was eventually unmasked as an alter ego of Flying Lotus. But I felt The Love Below was its own entity. “The show was originally supposed to be an Adult Swim show,” Andre told The Undefeated earlier this year. Though Andre’s qualms with the industry served as strong inspiration, “Class of 3000” initially was conceived as an animated version of The Love Below, his half of Outkast’s classic 2003 double album.
#Cartoon making fun of rappers series
The Cartoon Network series could lean heavy-handed in its imagery (like portraying record execs as snakes), but it could also be every bit as charming as its creator.
He ends up using music to teach his students about the world, often via the 29 genre-spanning songs the Outkast rapper provided. “Class of 3000” (2006–2008)Īndre 3000’s “Class of 3000” follows a famed jazz musician named Sunny Bridges (a nod to jazz legend Sonny Rollins), who quits the biz hoping that his new teaching job will repair his personal relationship with music. Thugnificent is a caricature mocking rap tropes, but he’s also a nuanced look at the world through the lens of a hip-hop head. Lil Wayne was on the voice cast for “Invasion of the Katrinians.” But the best Boondocks rap moments come from recurring character Thugnificent, who goes into debt when his record sales decline and eventually becomes the Freeman’s neighborhood deliveryman. Yasiin Bey, Snoop Dogg, and Busta Rhymes all appeared on the show as fictional rappers. Ghostface Killah and Xzibit made cameos as themselves. An entire season-two episode focused on him becoming an honorary member of Lethal Interjection rap crew, only to get his brand-new chain snatched.
One of its two main characters, Riley Freeman, was an avid fan who emulated the genre’s gestures and fads. This content can also be viewed on the site it originates from.Īaron McGruder’s comic strip turned animated series “The Boondocks” had a close relationship with rap dating back to its time in the funny pages, and its move to the small screen in 2005 only strengthened those ties. In rare instances, it even test the limits of the art form, reimagining what rap can do. They stretch rap grandiosity far beyond its real-life limits, as an act of satire or hyperbole. They’re wacky or ribbing, making light of rap self-seriousness or critiquing its mechanics. That said, the most impressive examples of rap animation can make you reconsider certain aspects of hip-hop itself. “The Simpsons” has tackled rap on several occasions during its run, and while some episodes work better than others, their most recent attempt (a rap Great Gatsby mashup) speaks to their level of cheesiness in this department. Back in 1990, Marvel and Saban produced an animated series about rap duo Kid ‘n Play while Kool Moe Dee, Salt ‘n Pepa, and MC Lyte made appearances, the NBC cartoon had very little to offer outside of its superficial relationship to its characters-which Kid ‘n Play didn’t even voice. FX’s short-lived animated sitcom “Chozen,” about a gay white gangsta rapper trying to rehabilitate his image after being released from prison, was flat and offensive, barely scratching the surface of both its premise and its animated potential. Because they meet so often, there’s no shortage of bad rap animation-crude, overly juvenile, cheesy.