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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.

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