Childish Gambino Video
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Redbone-ish flow. The clip and song start out nice enough, with a choral arrangement, lovely rhythms and a soothing guitar. It's a bop!
Wait. It's a different kind of bop. It turns into a gore-ish spectacle that juxtaposes homeland terrorism and riots in the backdrop of outwardly happy people doing the latest dance moves with impeccable quality.
Curiously, none of the dancing people, who are all in uniform, are seemingly touched by all the violence. They dance and dance, either willfully ignoring the violence around them or perhaps prayerfully ignoring the violence surrounding them. Or distracting from it.
Either way, whether you call this dancing cooning or surviving, it's a strategy for dealing with death. Plus the subject matter is super timely given Kanye West's recent tweets (or performance art, if you believe the latest theory). The video, directed by Hiro Murai and produced by Doomsday with Ibra Ake and Fam Rothstein of Wolf + Rothstein, is best watched several times so that you can see what's happening in the background.
The video became a trending topic several times over as fans unpacked its secrets. Many parents would also argue it is not safe for children to watch, so be mindful as you view it.
Here are five more things worth noticing about this video.
- All the guns are handled with care. Every time someone is shot, the gun is taken away carefully and cradled. Meanwhile, the person shot is either left there or dragged away on the ground, not picked up. Also, the guy who collects the guns is dressed in a polo shirt and ironed khaki pants. Quite respectable.
- SZA makes a cameo. Near the end, as Gambino dances on old cars, SZA sits on a car in a lovely dress, hair half up and half down. In a post shared to Instagram, she wears flip-flops. It would appear another song is a'coming.
- Old cars. 'This is America' gives careful attention to the types of cars used in the video. Nothing is new or modern. All of the makes and models are mid- to early-'90s, if not '80s, cars. This speaks to the whole idea that a fair number of Americans aren't driving new whips; many people are pushing boxy cars that still have tape decks. Luxury vehicles often seen in rap videos are noticeably absent from this one.
- There are references to killing terrorists and terrorists killing us. Both the Charleston Church Massacre and a man who is shot in the back of the head, which is covered in a cloth bag, speak to the variety of gun deaths that occurs on American soil or as the result of American politics.
- The dancing. Gambino references at least 10 ultra-popular dances, both old ones and new ones. One of those dances was the Gwara Gwara, which originated in South Africa. What's remarkable is that the dancers nailed each performance, and you could interpret that in one or two or three ways. One, they are clueless and dancing. Two, they have a clue and dance to keep from crying. Three, they are jamming for the camera or for social media video and know their dancing is a distraction, a salve or an invisibility cloak. Keep in mind the dancers were not shot, nor were they chased by the police. Given Glover's droll sense of realistic humor on FX's Atlanta, it would not surprise me if all three interpretations are correct, because often that is life in America.
Donald Glover also stars as a young Lando Calrissian in Solo: A Star Wars Story. He is known for his ability to pack nuance — if you choose to see it, that is — into his performance art and writing.
Watch On Forbes: Forbes 30 Under 30 - Donald Glover Does It All
In his opening monologue as the host of “Saturday Night Live” last weekend, Donald Glover quipped: “I’m an actor, a writer and a singer. Some people have described me as a triple threat. But I kind of like to call myself just a threat.” As if to drive home the point that he’s scarily talented, Glover, who created and stars in the surreal FX comedy “Atlanta” was also the episode’s musical guest, performing two new songs as his hip-hop alter ego, Childish Gambino.
The music video for one of those tracks, “This Is America,” appeared the same night, and it suggests that he is actually a quadruple threat: He can dance, too. But Glover’s graceful moves aren’t exactly the point. There’s plenty of messaging about race, violence and the entertainment industry in the song and video — which helps explain why fans and critics have devoted so much time to dissecting its references and debating its meaning. Here are some of their sharpest insights. (Excerpts below are unedited.)
[Read our interview with the director of “This Is America,” Hiro Murai]
‘Unpacking All the References in Childish Gambino’s Phenomenal New Video’ [Dazed]
“This Is America” is dense with allusions to American history and pop culture. Natty Kasambala assembles a list of footnotes to the video, from its Jim Crow imagery to Glover’s references to other musicians.
‘Childish Gambino’s Video Grabs You by the Throat’ [CNN]
“What Gambino put together is a true picture of America, where so many of us get to dance and sing and laugh and create,” writes Isaac Bailey. “All the while others are largely ignored and trapped in the background, struggling and sometimes dying in a sea of ugliness that many of us would rather not acknowledge, knowing it would ruin the pretty pictures we’d rather focus on.”
‘The Carnage and Chaos of Childish Gambino’s “This Is America” Video’ [The New Yorker]
Doreen St. Félix notes that “The video has already been rapturously described as a powerful rally cry against gun violence, a powerful portrait of black-American existentialism, a powerful indictment of a culture that circulates videos of black children dying as easily as it does videos of black children dancing in parking lots.”
She continues: “It is those things, but it also a fundamentally ambiguous document. The truth is that this video, and what it suggests about its artist, is very difficult. A lot of black people hate it. Glover forces us to relive public traumas and barely gives us a second to breathe before he forces us to dance.”
Justin Simien Breaks Down ‘This Is America’ on Twitter
In an appreciative Twitter thread Sunday night, Justin Simien, the creator of Netflix’s “Dear White People,” analyzed the imagery of “This Is America” and concluded that the video asked black viewers, “How can those of us granted a moment in the proverbial spotlight just use it to entertain ourselves to death?” He continued: “It’s a challenge and a series of questions. Like art should be.”
‘What It Means When Childish Gambino Says “This Is America”’ [Vulture]
Frank Guan analyzes the lyrics of “This Is America,” which draw heavily on trap music, a gritty rap subgenre with its origins in Atlanta. “The incongruousness of Glover, raised middle-class and a NYU graduate, bragging about his Mexican drug supplier and threatening to have you gunned down, is intentional,” he writes. “It’s a tribute to the cultural dominance of trap music and a reflection on the ludicrous social logic that made the environment from which trap emerges, the logic where money makes the man, and every black man is a criminal.”
‘Donald Glover’s “This Is America” Is a Stylish, Ambitious Provocation — But What Is It Actually Selling?’ [Vanity Fair]
K. Austin Collins takes issue with Glover’s critique of black America’s complicity in the violence that plagues it. “I’m wary of any claim that ‘We’ are distracted from black violence,” he writes, “because who’s ‘we,’ really? Every other day of the week, America’s complaint is that the blacks doth protest too much.”
‘Making Donald Glover the “Anti-Kanye” Is Gross and Wrong and Will Backfire, So Please Don’t’ [The Root]
Damon Young points out the danger of setting up Glover as the antidote to another black male artist, Kanye West, whose recent political pronouncements have frustrated many fans. “Between ‘Atlanta’ and his music, Glover’s work could have an antiseptic quality, cleansing us of Kanye’s descent into anti-blackness and celebratory idiocy,” Young observes. “But at the very least, this comparison fails because it reduces Glover’s work to that of a palate cleanser. And also implied is that only one of these types of men can exist concurrently.”
‘The Filmmaker of the Year Hasn’t Even Made a Feature Film Yet’ [The Ringer]
Adam Nayman turns his attention to the director of “This Is America,” Hiro Murai, who got his start making music videos and has also directed many standout episodes of “Atlanta” and HBO’s recent critical favorite “Barry.” As Nayman sees it, “The power of Murai’s aesthetic is bound up in the balance between the camera’s visual overstatement and its subjects’ deadpan dismissal.”