I`m Not a Rapper - Blogs@VT

 I’m Not a Rapper: Donald Glover aka Childish Gambino’s search for authenticity in the hip-­‐hop industry Natalie Robertson Virginia Tech I’m not a rapper: Donald Glover aka Childish Gambino’s search for authenticity in the hip-­‐hop industry In Shakespeare’s Hamlet, Polonius gives Laertes this advice: “This above all: to thine own self be true.” The notion of being real and not false has played a firm role in society since the early 1600s, and perhaps earlier. ‘Keeping it real’ transcends cultural boundaries that are normally predetermined and untouched, from English literature to hip-­‐hop music. In the hip-­‐hop industry, authenticating oneself reigns paramount among all feats. Whether it is the car you drive, the people you know or the music you produce, such factors aid hip-­‐hop artists in their quest for authenticity. On the other hand, what factors hinder artists as they try to ‘keep it real’? Could one of those elements involve an artist’s acting career? In this paper, I will examine actor Donald Glover’s transition from acting to rapping under the stage name Childish Gambino. In addition, I will examine the cultural nuances associated with authenticity. Although Childish Gambino uses many authenticating strategies, he also asserts himself as an individual. My research will dive into if and how this can be attributed to his background in acting. Moreover, I will examine how the rapper persona is similar and/or different to the actor persona. Does he face struggles in authenticating himself because of his overlapping careers in television and film? Specifically, I will assess the ‘keeping it real’ category of authenticity, and how the combination of acting and rapping either hinders or helps Gambino as he tries to be ‘real.’ More generally, I will delve into the other categories of authenticity, including culture, location, sexuality and race. Literature Review This literature review pertains to authenticity in entertainment, especially in the hip-­‐hop industry. First, I will present sources that discuss the cultural constructs of authenticity in general. Then, I will present material that highlights the notion of “keeping it real” in hip-­‐hop. After, I will draw attention to sources that cite the importance of individualism in hip-­‐hop. Finally, I will end with material that examines authenticity in Hollywood. Authenticity in Hip-­‐Hop Authenticity is a culturally constructed concept that plays a critical role in hip-­‐hop, but how is it defined? What exactly is authenticity, and why is it so important to hip-­‐hop artists? Peterson defines authenticity as a “claim that is made by or for someone, thing or performance and either accepted or rejected by relevant others” (2005). The idea of acceptance or rejection is something that is often overlooked; instead of looking at the “relevant others” who judge claims of authenticity, individuals tend to focus on those who make the claims. The various means of authenticating oneself in the hip-­‐hop industry, whether it is being from the “hood” or not selling out to the mainstream demands of the industry, continue to be utilized and altered by society. This is precisely why the “relevant others” are critical in authentication. Without these groups, claims of authenticity would be meaningless. An artist can claim to be real, hard and old school, but how valuable are these claims without acknowledgement from others? There are three dimensions of authenticity when appealing to “relevant others”: first person, second person and third person. First person authenticity addresses the performer’s ability to convey a sense of honesty and integrity to the audience. In this dimension, the audience becomes more invested in the performer him/herself rather than his/her acts and gestures (Moore, 2002.) An example of this dimension is when an artist performs at a concert. The artist often sings, dances and addresses the crowd directly during the concert. Perhaps the artist stops the show midway to have an intimate conversation with the crowd. The audience then becomes more invested in the person on stage rather than his/her songs. This establishes a relationship with the audience that transcends any other act or gesture. Thus, first person authenticity is one mode an artist can prove to “relevant others” that he/she is real and honest. Second person authenticity occurs when a performer succeeds in validating a listener’s life experience – that the artist is “telling it like it is” for the listener (Moore, 2002). For example, Grandmaster Flash & The Furious Five’s 1982 hit, “The Message,” conveys the harsh reality of the “hood.” In the song, Grandmaster Flash raps: “I can't take the smell, can't take the noise / Got no money to move out, I guess I got no choice.” With the song’s themes of drugs, violence and poverty, it made it a relatable tune for those living in similar conditions. In a 1983 interview, Flash said “The Message” proved the group could speak about things that have “social significance and truth” (Rolling Stone, 2012). Grandmaster Flash & The Furious Five claimed second person authenticity, giving those living in the ghetto a voice in the music industry. Lastly, third person authenticity is when a performer accurately represents the ideas of another, embedded within a tradition of performance (Moore, 2002). Tribute bands are examples of artists who demonstrate third person authenticity. The Silver Beatles, a leading tribute band for The Beatles, provide such an accurate representation of The Beatles that Cynthia Lennon claims they “look alike, sound alike and even think alike” (Moore, 2002). Artists who exemplify third person authenticity embrace the spiritual origin of the music they produce. The concept of a ‘genre’ of music is another example of how artists can claim third person authenticity. In any given music genre, there are overarching themes, sounds and styles that make it exclusive from other genres. In hip-­‐hop, specifically rap, factors such as abundant bass, expletives and predominant vocal presence contribute to the construction of the genre. Artists can authenticate themselves by following the benchmarks set by their genre of music. McLeod’s six dimensions of authenticity are intertwined within the three points of view in authenticity. The following chart outlines the six dimensions: Retrieved from McLeod, pg. 139 In this paper, the most important dimensions are social-­‐psychological, gender-­‐sexual and social-­‐locational. Social-­‐psychological authenticity, as supported by Table 1, discusses how artists either stay true to themselves or follow mass trends. “Keeping it real” is the valorization of individualism and the demonization of conformity; this is ironic because you have to follow the same patterns of authentication to be accepted and valued as a rapper, but those evaluating your authenticity want you to “keep it real” and stay true to yourself (McLeod, 1999.) How does an artist “keep it real” when he/she is required to follow culturally constructed ideas of authenticity? The ultimate way to authenticate oneself is representing who oneself is, but characterizing this concept into a limited category seems to contradict “keeping it real.” Artists must fit into the “boundaries set by institutionalized notions of authenticity” to be recognized as authentic by others (Yuen, 2008). No matter how technical this analysis of the dimension may seem, the irony and contradiction are unavoidable. Gender-­‐sexual authenticity relates to whether an artist is “hard” or “soft.” Hard attributes are typically associated with masculinity, while soft attributes are associated with femininity (McLeod, 1999.) In other words, are you a gangster and a thug, or a “faggot” and a “pussy”? As made evident by the name, this dimension addresses both the gender and sex of an artist. Being “hard” isn’t guaranteed if you have a penis, just as being “soft” isn’t necessarily ensured if you have a vagina. More than that, being hard means acting in a masculine, and often hypermasculine, manner. In hip-­‐hop, femininity overlaps with homosexuality. LL Cool J received criticism when he made love songs such as “Hey Lover” and “I Need Love.” Though his love songs sold millions of records and attracted female audiences, LL Cool J was accused of not “keeping it real” because these songs made him appear “soft” (McLeod, 1999). Social-­‐locational authenticity relates to where an artist is from and what neighborhood with which he/she identifies. When hip-­‐hop artists try to distance themselves from their roots, they are referred to as “sell outs” (McLeod, 1999). In Tupac’s 1999 song, “I Ain’t Mad at Cha,” Tupac addresses attacks on his authenticity due to his change in social location. Tupac raps: “So many questions, and they ask me if I’m still down/I moved up out of the ghetto, so I ain’t real now?” (McLeod, 1999.) In hip-­‐hop, selling out and leaving the streets is equivocated with being “fake” and not “keeping it real.” Moreover, when hip-­‐hop artists try to appeal to other audiences such as suburban kids, they are categorized as inauthentic. When the Black Eyed Peas added Fergie to the group in 2003, the band started to move away from its hip-­‐hop roots and instead align itself with pop and radio friendly music. The band went from an underground look (left) to a pop, high fashion appearance (right). Photo retrieved from: www.bep.wikia.com Photo retrieved from: www.searchenginepeople.com Similar to LL Cool J, Tupac and the Black Eyed Peas, the focal point of my research, Childish Gambino, is affirmed and challenged by the social-­‐psychological, gender-­‐sexual and social-­‐locational dimensions of authenticity. Gambino is not the typical black, hard gangster rapper, which poses the essential question: through what means does Gambino achieve authenticity in the hip-­‐hop world? Honesty is often regarded as the best policy. Ideally, the most honest form of authenticity would come down to our true, individual existence, not as it may be perceived or presented to others (Handler, 1986). However, is this form of authenticity truly possible? How can we show the world who we really are when that person only knows that true self? “Keeping it real” is the valorization of individualism and the demonization of conformity; this is ironic because you have to follow the same patterns of authentication to be accepted and valued as a rapper, but those evaluating your authenticity want you to “keep it real” and stay true to yourself (McLeod, 1999.) How does an artist “keep it real” when he/she is required to follow culturally constructed ideas of authenticity? The ultimate way to authenticate oneself is representing who oneself is, but characterizing this concept into a limited category seems to contradict “keeping it real.” Artists must fit into the “boundaries set by institutionalized notions of authenticity” to be recognized as authentic by others (Yuen, 2008). No matter how technical this analysis of the dimension may seem, the irony and contradiction are unavoidable. Individualism Authenticity is a cultural construct of the Western world that is closely tied to Western notions of individualism (Handler, 1986). In order to stay true to oneself, he/she has to focus on him/herself. In hip-­‐hop, a rapper has to assert him/herself against the rest of the world in order to establish individuality. There is no room for conformity in individualism (Handler, 1986; Armstrong, 2004; Quick, 2011; Yuen, 2008.) How artists conceive their own identities and self-­‐concepts often contradicts the established measurements of authenticity set before them (Yuen, 2008). Again, this proves problematic and ironic. How does an artist authenticate his/her true self when he/she must adhere to institutional dimensions? Again, the contradictions never cease. Hip-­‐hop musicians stay true to themselves when they “defy commercial interests and pressures” by producing music that is not mainstream (McLeod, 1999; Yuen, 2008). This brings the hip-­‐hop industry’s lingering question of how much influence an artist has over the music and image that he/she produces, especially when working with a record company. Music and trends are mainstream because people like them; does an artist have to prove his/her authenticity by producing only underground, unpopular music? The importance of the individual in hip-­‐hop cannot be denied, but the concept of the individual can be buried under the needs and desires of the audience (Yuen, 2008; Moore, 2002). Authenticity in Hollywood It appears that Hollywood's standard of authenticity “constrains actors from expressing their artistic and personal identities” (Yuen, 2008). However, rappers have the ability to express their realities to an audience, while filmmakers attempt to construct such realities to sell to audiences. In many cases, rappers are able to portray their rapper personas in films; rappers such as Snoop Dogg and 50 Cent have proved this time and time again in films such as Soul Plane and Get Rich or Die Tryin’. On the flipside, there is an elite group of rappers who transform themselves into characters “unlike their true or music marketed selves” (Tyree, 2007). This group includes LL Cool J, Queen Latifah, Ice T, Ice Cube, Mark Wahlberg, Snoop Dogg, Will Smith, Mos Def and others. These rappers-­‐turned-­‐actors have shown that rappers can “progress in the Hollywood movie system, transcend their Rap personas and become accepted actors” (Tyree, 2007). Hollywood often holds actors to standards of authenticity based more on biographical factors such as social status and life experiences than their talent. These means of authentication are similar to those set in hip-­‐hop (Yuen, 2008). As in acting, rapping is often about where you’re from, how much money you have and how offensive your lyrics are (McLeod, 1999). Both actors and rappers alike are made most aware of authenticity when their self-­‐concepts are challenged or called into question in some way (Yuen, 2008). Methods In order to answer these questions, I examined scholarship on hip-­‐hop and authenticity. Sources included, but were not limited to, discussions on the social construction of authenticity, identity construction in hip-­‐hop and Hollywood, and the categorization of authenticity. I then analyzed the music and acting career of Childish Gambino. I listened to his albums and mixtapes, dissecting his lyrics. Specifically, I examines Gambino’s studio album, Because The Internet. Do his references to his acting career imply struggle with authenticity and ‘keeping it real’? I watched Gambino’s stand-­‐up comedy special on Comedy Central. I deliberated the differences and similarities between his actor/comedian persona and his rapper persona. I also looked at his individual projects, such as his screenplay that shares a name with his album. I also examined articles, blogs and interviews talking about and with Gambino. What does the public think of his as an actor and rapper, both collectively and exclusively? Additionally, what does he think of himself? During this part of my investigation, I used sources such as BuzzFeed, TIME and YouTube. Analysis Donald “Childish Gambino” Glover Who is Donald Glover? Donald Glover is a writer, comedian, actor and rapper. Glover worked as a writer for the NBC comedy, 30 Rock, from 2006 to 2009; he received a Writers Guild of America Award nomination for the show in 2009. Glover’s stand-­‐up comedy special aired on Comedy Central in March 2010. As an actor, Glover is best known for his role on the NBC comedy, Community, where he plays a football player-­‐
turned-­‐geek named Troy. Glover released his first mixtape, Sick Boi, under the alias Childish Gambino, in 2008. Since 2008, Childish Gambino has released six other mixtapes and two studio albums, the most recent release being the combined mixtape and EP, STN MTN/Kauai (IMDb, 2014.) Be Real With Me: First Person Authenticity Donald Glover claims he “tr[ies] to be [him] to the utmost.” Does that statement alone make him honest? Of course not. However, first person authenticity is concerned not with a performer’s tangible actions and gestures, but with the performer him/herself. One example of Glover’s application to first person authenticity is the combination of his acting and rapping skills in both his most recent album and screenplay which share the same name, Because The Internet. At first glance, the album appears random and chaotic. Then, after reading through the 73-­‐page interactive screenplay, there is once again more randomness and chaos. This time, though, the madness is organized. Each song on the album matches a specific event or emotion in the screenplay. For example, in the song “Urn,” Glover raps: “We see him in the night/Tell him I'm not afraid of him” (Glover, 2013). This song matches the part of the screenplay where the main character, The Boy, played by Glover, is tossing the ashes of his late father over a bridge. Glover’s reference to “him” in the song is none other than his father, whose ashes blend into the darkness of the night. In the interactive screenplay, a short clip shows the ashes pouring over a silent Glover (below). Photo retrieved from: www.becausetheinter.net By combining writing, acting and rapping, Glover gives the audience a chance to think of him as an entire person rather than one persona. This Because The Internet duo is the most relevant example of his honesty. The album and screenplay make little sense to the listener and reader, but is that not a true reflection of Glover’s enigmatic personality? By being mysterious in all aspects of his entertainment career, Glover makes himself real. Nevertheless, Glover represents a fear the hip-­‐hop industry wishes to rid of – the unknown. Thus, it’s almost as if Glover simultaneously proves and disproves his first person authenticity with Because The Internet. Though, as hip-­‐
hop becomes more progressive with individuals such as Glover, Kendrick Lamar and Chance The Rapper, artists are less forced to conform to the stringent six dimensions of authenticity, specifically social-­‐psychological. “Keeping it real” is just as enigmatic as Glover himself. Hip-­‐hop still has the hypermasculine, by-­‐the-­‐rap-­‐
book artists, such as Rick Ross, 50 Cent and Gucci Mane. This type of artist will always remain, as they contain key hip-­‐hop qualities such as aggression, materialism and domination. And, this is not to say that Glover does not exhibit some of these qualities; he does, especially in his lyrics. Instead, this goes to show that the geography of hip-­‐hop is changing as new artists emerge with fresh ideas and concepts. In the past, “keeping it real” in hip-­‐hop meant the audience knew everything about an artist, and that the artist fit into a specific mold. Now, in 2014, “keeping it real” means an artist can be a human being with secrets and a personal life, while breaking boundaries in traditional hip-­‐hop. Glover doesn’t have a mold, and that makes him real to his audience. In a Rolling Stone video segment, Glover interviews his alter ego, Childish Gambino. Glover wears a loose yellow sweater, while Childish Gambino sports the same sweater with a backwards cardigan on top (left), which he claims to wear out of inspiration from the hip-­‐hop group, Kriss Kross (right). Photo retrieved from: www.youtube.com Photo retrieved from: www.twanatells.com Though the wardrobe is a subtle feature, Childish Gambino’s amateur attempt at covering his yellow sweater shows that his actor and rapper personas are undoubtedly intertwined. Nonetheless, having Glover interview his alter ego gives the audience a visual separation between the two personas. Further, at the end of the interview, Glover concludes with: “This has been Donald Glover and Childish Gambino. We are very good friends… okay, we’re not.” Once again, Glover puts a comical spin on his separation of his two identities by claiming he isn’t friends with Childish Gambino. Because Glover has two distinct personas in the entertainment industry, he is frequently able to reaffirm his inexplicable presence. With the new, more progressive definition of “keeping it real,” Glover is able to literally be more than one person at one time. In this interview, he simultaneously separates and intertwines his two identities. In a BuzzFeed article titled, “The 11 Most Honest Things Donald Glover Has Ever Said,” Glover states: “I don’t wanna be a rapper. When Kanye [West] talks about that glass ceiling there of like, ‘I can’t do anything because they see me as a rapper’? Like, that’s my superpower. People don’t see me as a rapper.” In reality, people aren’t entirely sure what to “see” when they look at Glover. He is an actor. He is a rapper. He is a comedian. He is a writer. But what/who is he, exactly? Glover’s superpower isn’t that people don’t see him as a rapper; instead, it is that people see him as a rapper, along with several other identities. By not being just one persona, Glover is able to both isolate and combine his various identities. These examples go to show that nothing is off limits to Glover. Write a screenplay to go along with my album? Do an interview with myself? Be a rapper, but not call myself one? By doing what he wants, when he wants, Glover applies to first person authenticity by showing the audience all of himself while showing nothing at all. Glover is a mystery to his fans and critics alike. He is both an actor and a rapper, among other things, which causes the audience to focus on who Glover is rather than surface level gestures and actions. Glover challenges the audience to look at him as an individual rather than focus on his lyrics and television appearances. And, when he finally has the audience’s full attention, he figuratively walks off the stage or off the set and leaves the crowd or producers wondering. You Took the Words Out of my Mouth: Second Person Authenticity It isn’t uncommon for people to turn to musicians and actors in order to validate their own experiences and emotions. In fact, music and television/film are perhaps the most common ways that people can feel safe and understood. By being a part of both artistic circles, Glover can “tell it like it is” twice over. In an interview with ANDPOP, Glover claims he “feels more lost and faceless than ever” due to the ambiguity rooted in the Internet. When talking about gay marriage, he questions why the opposed are “fighting this humanity thing” and “fighting us being better.” Glover’s album, Because The Internet, is deeply rooted in his responses to Simon Mohos’ questions. As he recalls a time when the Internet didn’t exist, he states he wants to “bring that good shit” back to humanity and “leave the bad shit,” yet he claims he isn’t dissing the Internet by any means, and that the Internet is the “best thing ever” (ANDPOP, 2013.) This paradox is relatable to almost any individual who has access to the Internet, specifically social media sites such as Twitter, Facebook and Instagram. Glover recognizes that the anonymity and chaos associated with the Internet has its positives and negatives. It is an infinite source of information, creativity and imagination, but it also brings about a sense of facelessness and conformity that wasn’t necessary felt before it was established. Thus, the concept behind Because The Internet is a direct commentary on how the Internet has confused, enchanted and damaged humanity. Glover isn’t afraid to “tell it like it is” in all aspects of his professional career because he knows he has the power and means to say and do what he wants. Often, and especially in hip-­‐hop, people look to celebrities and other public figures to be the voice of reason and reassurance that what they are going through is real. In Glover’s Comedy Central special, “Weirdo,” he claims that he would “rather have aids” than a child (YouTube, 2011). Though this example is exaggerated and extreme, Glover receives ample laughter from the crowd because plenty of them agree with him. Comedians have the power to say out loud what people think but aren’t willing to say. Comedians have a sort of immunity to harassment and criticism of what they say in a public setting, and Glover is no exception. This is where Glover’s comedian persona becomes so imperative – what he might say as an actor or rapper might not be taken as lightly or easily as when it comes from Glover the comedian. In another segment of “Weirdo,” Glover runs back and forth across the stage, acting out what he imagined the Lady Gaga and Kanye West “Fame Kills” tour would be like. He pictures Lady Gaga playing a bass guitar that is actually a “huge tampon,” with Kanye West on the other side of the stage playing the piano that is actually a “live bear” (YouTube, 2011). An everyday person may have these peculiar thoughts and such a vivid, weird imagination, but a comedian are some of few people who are allowed by society to be ridiculous and offensive. By having a comedy background, Glover authenticates himself by explicitly “telling it like it is.” You know all of the things that we ‘common folk’ would like to say but would be ridiculed for saying? Yes, that is where Glover’s comedian persona comes into play. On a more intimate note, Glover also addresses social issues such as race and police brutality. In regards to the August 2014 Ferguson, Missouri shooting and his personal struggles with race, Glover voiced his opinion on Twitter (below). Photo retrieved from: www.twitter.com Obviously, Glover is a black man, but he is criticized for acting like a “white rapper.” Though Glover has his critics, he received endless support and praise from fans and bloggers alike (below). Photo retrieved from: www.pigeonsandplanes.com Additionally, Glover posted pictures of a dark poem to Instagram written on several Marriott Hotel notepad papers in October 2013, which voiced his anxieties and concerns (below). Photo retrieved from: www.instagram.com Comments on his Instagram post included, “I feel you dude, I’ve been there many times,” “These feelings you express are feelings every person feels” and “This kind of vulnerability is rare. Being this honest is an igniter” (Instagram, 2013). Moreover, in a radio interview with Sway Calloway, Glover freestyles about the negative responses he received from his bleak posts on Instagram. He raps: “Wrote some shit on Instagram, I’m just being honest/They tried to give your boy pills like I’m being violent/They tried to give your boy pills just to keep him silent” (YouTube, 2013). Again, the contradictions within hip-­‐hop arise. “Relevant others” want an artist to be honest in order to “keep it real,” but posting emotional poems and being “soft” violates the gender-­‐sexual dimension of authenticity. However, with the current, more progressive definition of “keeping it real,” Glover’s posts are more accepted than they would have been decades ago. Among the negative feedback to his posts, Glover’s positive feedback authenticates him as a rapper, but more importantly, as a human being. If people can relate to an artist’s feelings and experiences, that artist becomes much more human and real to them. Glover is an actor, rapper, writer and comedian, but he proves time and time again that he is also a real person with real emotions, fears and desires. Show Me How it’s Done: Third Person Authenticity Though Glover provides a progressive definition of “keeping it real,” he also honors several pillars of hip-­‐hop. On Because The Internet, there are three songs that especially pay homage to hip-­‐hop: “Worldstar,” “Crawl” and “Sweatpants.” In all three songs, Glover uses expletives, heavy bass and strong vocal presence – essential aspects of rap. “Worldstar” is a reference to the website Worldstar Hip-­‐Hop, which is best known for featuring public fights caught on tape. In these fight videos, it is common to hear bystanders chanting the word “Worldstar” in the background. In Glover’s song, “Worldstar,” you can hear a crowd chanting “Worldstar.” In “Crawl,” Glover raps: “Make ‘em turn around in their lane like a U-­‐ey/And I’m only looking back if I’m looking at her booty (at her boooooty).” Glover’s emphasis on “booty” is a reference to R. Kelly’s 2001 single, “Feelin’ on Yo Booty.” Though R. Kelly is often ridiculed for his outlandish music style and lyrics, he is undoubtedly an important individual in hip-­‐hop. Finally, in “Sweatpants,” Glover references both A$AP Rocky and DJ Khaled, who are two current, well-­‐known hip-­‐hop artists. By citing Worldstar Hip-­‐Hop, R. Kelly, A$AP Rocky and DJ Khaled, Glover’s music situates him at the epicenter of classic hip-­‐hop. Aside from his songs, Gambino honors hip-­‐hop by playing into one of its most crucial aspects – competition. Since the start of hip-­‐hop in the 1970s in the Bronx, New York, competition among rappers has given artists ammunition against one another. Though, the rivalries are typically friendly, with the exception of Notorious B.I.G. and Tupac. In a September 2014 interview with Billboard, Gambino called out Drake by saying: “Right now, I definitely think I'm better than [Drake], but only because I'm working harder than him right now. If he came in right now like, 'Let's rap,' I'd be like, 'Oh, I'mma kill you.' But like right now. Maybe he's got something up his sleeve." Though this is an obvious diss against Drake, it isn’t malicious. Gambino goes on to say that he doesn’t hate Drake, and that he thinks he’s a “really good writer and rapper” (Billboard, 2014.) In addition, in a radio interview with Peter Rosenberg, Gambino calls out Drake by saying he isn’t “hood.” Gambino goes on to say: “But I am also a black male. I still have to wear this grandma sweater when I go see my grandma in the Bronx. Who lives in a shitty neighborhood. My cousin just got shot and stabbed twice hustling there” (HollywoodLife, 2014.) Though neither Gambino nor Drake grew up in the “hood,” Gambino attempts to put himself in a situation that makes him appear more “hood” than Drake. In hip-­‐hop, one is able to authenticate him/herself by calling other rappers out, but also being respectful of their individual talent. Competition is only part of the game, and not usually meant to damage anyone’s career or reputation. Gambino called out Drake again, as well as Kendrick Lamar and Schoolboy Q at a July 2014 show in Sydney, Australia by rapping: “I cut their head off, that’s every rapper living/That’s Kendrick, that’s Drake, that’s Schoolboy, that’s everyone/I don’t give a fuck.” Further, in a July 2014 TIME article, Gambino claims to be the “best rapper alive,” and his disses against Drake, Kendrick Lamar and Schoolboy Q are once again cited. By calling out artists who clearly have more success and power than him, Gambino puts himself in a conversation that he wasn’t necessarily a part of in the past. Calling out others and putting oneself above more successful rappers is a frequent technique used by hip-­‐hop artists to authenticate themselves. Thus, Gambino applies to third person authenticity by asserting himself as a current, relevant artist in hip-­‐hop. Because Gambino is also an actor, he potentially faces additional hardship in authenticating himself among the “relevant others” in hip-­‐
hop. Though Gambino shows he is “real” in other ways, he isn’t a traditional rapper, which can be looked down upon by hip-­‐hop moguls. He didn’t come from the “hood,” he isn’t necessarily “hard” and he comes from a writer/actor/comedian background. He didn’t start as a rapper, which makes people question whether he can be considered a real “rapper.” In a Noisey feature article about Because The Internet, both Gambino and Glover are described: “But it’s not Lil Wayne. It’s Troy from Community (below). Nothing about his music has ever felt ‘real,’ for the lack of a better term. He’s soft. He’s emo. He’s a dork.” Photo retrieved from: www.slate.com Gambino aids the effort in developing a progressive definition of “keeping it real,” but he will always fall short in some critics’ eyes, which can be heavily attributed to his acting career. Authenticity is perhaps the most essential pillar of hip-­‐hop. Artists make claims and “relevant others” accept or reject those claims. Without both pieces of the puzzle, authenticity would be meaningless. In Glover/Gambino’s case, he is able to appeal to a new generation of listeners through his multifaceted career, while still appealing to the lovers of traditional hip-­‐hop with his wittily offensive lyrics. Glover doesn’t have just one persona, thus dismissing the idea that he has just one audience. If he isn’t able to authenticate himself as a rapper, he is able to do so as an actor. If he isn’t able to authenticate himself as an actor, he does so as a comedian. By being enigmatic and multidimensional, Glover furthers hip-­‐hop’s attempt at acceptance and change, while never forgetting the importance of “keeping it real.” Shakespeare would be proud. References A Deep Interview with Childish Gambino... Because The Internet. (n.d.). Retrieved December 3, 2014, from https://www.youtube.com/watch?v=jzZ6CB6NPvo Armstrong, E. G. (2004). Eminem's Construction Of Authenticity. Popular Music and Society, 27(3), 335-­‐355. Battle: Donald Glover vs. Childish Gambino. (n.d.). Retrieved December 3, 2014, from https://www.youtube.com/watch?v=V5MWyVAUbI0 Because the internet : Script. (2013). Retrieved December 3, 2014, from http://becausetheinter.net/ Childish Gambino Calls Out Drake (Again), Performs 'Sober' for First Time: Watch. (n.d.). Retrieved December 9, 2014, from http://www.billboard.com/articles/columns/the-­‐juice/6251613/childish-­‐
gambino-­‐grammy-­‐event-­‐sober-­‐drake Childish Gambino Mans Up, Declares Himself 'The Best Rapper' Alive. (2014). Retrieved December 9, 2014, from http://time.com/3051659/childish-­‐
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