Childish Gambino: An Addendum
November 16, 2011 23 comments
There are some artists who raise crucial questions purposefully. Seeking answers, not just from their audience, but from themselves as well. You’ve got your John Lennon’s and Fela Kuti’s in the foreground. But, more recently, you’ve got Kanye West, Thom Yorke, and Odd Future (in their own way). And then there are those artists who become the questions they are asking. Fusing ideology, and reactionary judgment, with every aspect of their personality.
In my review of Childish Gambino’s Camp — which will serve as the basis, but not the sole subject, of this piece — I criticized the music of an artist who I believe bears those qualities. And the reaction, positive and negative, raised a concerning question:
Does the intent of an artist affect the perception of their music?
Donald Glover, through interviews, stand-up gigs, various career moves, and several mixtape tracks, has always raised questions. Rightfully so, seeing that simply being a professed “black nerd” with a past of racially-based bullying, social anxiety, and plain old kid issues, are memories worn proudly on his sleeve. While, lyrically, Glover didn’t really come out to see his own shadow until last year’s Culdesac, by the end of that album, you knew who Childish Gambino was. Down to the last obsessive, compulsive detail.
The problem is, with a persona like Childish Gambino, there has to be a legitimate catalyst fueling the fervent energy that he puts toward his emotional work. But, it’s increasingly more evident that Glover’s main motivations are his vast collection of women, haters, and relaying precisely how awesome he is. I understand the context when used in a boastful song like “Freaks and Geeks”, or a cheesy-fun banger like “You See Me”, or the audio middle finger “I Be On That”. But, in a triumphant declaration of individuality? Useless information about the chicks in his Rolodex? The third bar of “Difference”:
“I could call any girl in my phone right now
Have a pillow in her mouth watch her bite down”
Or, on an uplifting track about overcoming, like “Fire Fly”, where he sinks into an awkward bitterness, that halts the flow. Fourth bar:
Or, simply unnecessary chest-pounding on a song dedicated to loneliness. Ninth bar of “Be Alone”:
Ironically, in that last song he addresses my concerns directly. Though, that doesn’t amend the fact that he’s still widely off topic to begin with. I’d be remiss not to point out that Gambino takes a great deal of influence from Lil Wayne. (among others, certainly) While this is more of a stylistic nuance, I feel like the structure of his punchlines force him to interrupt whole thoughts, just so he can fit in a pop culture reference here and there. And, if that’s how he justifies some of the distracted versification that ails much of his catalog, then Glover is clearly missing the point of rapping with a purpose. And that’s fine if he chooses that, but don’t try if you’re not going to commit.
I understand what makes Childish Gambino such an impressive act. He’s got the talent and awareness to flip some of the most taboo subjects into easily-digestible social commentary. And he does that, from time to time. But, not once does he accomplish this consistently enough to propel him past his peers. Peers of which who just so happen to meet Glover’s quota of raps about “vast collections of women, haters, and relaying precisely how awesome they are”. I know Donald’s intent, and he’s capable of true greatness, but he doesn’t seen focused enough to bring us that. And, it’s not fair to Glover, or anyone who enjoys his music (myself included), to give him a pass based on the profundity of a Childish Gambino that doesn’t currently exist.
That’s as far as my analysis can go. Hopefully I cleared up my position, but what’s yours? Do you, or anyone you know, place expectations on artists (Gambino or other) that warps the opinion of that artists’ music?
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