Childish Gambino Video

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• This Is America Childish Gambino Video

In recent years, has moved from main act to bit player in the sprawling Donald Glover portfolio. Gambino, originally a jokey rap vehicle, found mainstream success with the P-Funk pastiche of his 2016 album, but that wider recognition coincided with Glover himself being increasingly praised for his skill set in full, rather than his individual talents. In his opening for “SNL” this past weekend, even Glover veiled his own rapping past: “It all kinda worked out for me, I was on a show called ‘Community,’ I play Lando Calrissian in the new Star Wars movie Solo, and if you’re black, I made ‘Atlanta’ and ‘,’” he joked. “I’m an actor, writer, and a singer,” he summarized. It’s hard to parse the value or intent of this constant omission of rap, especially given “Atlanta”’s deft on the rap industry, but one thing is clear: Childish Gambino, the rapper, has become an anachronism.

“This Is America,” then, is a bit of a reset. Here, he uses the ambivalent reception of black art to represent the tightrope of being black. Built on the sharp contrast between jolly, syncretic melodies and menacing trap cadences, the song presents Childish Gambino as confident and cutting. “This is America!” he chants as the song swings between harmony and discord. Choice background vocals embellish both moods: cherubic hums and ecstatic screams for the singing sections; and manic ad-libs for the rap verses, often provided by other rappers (21 Savage, Young Thug, Quavo, Slim Jxmmi, and Blocboy JB). Glover’s voice bridges the two worlds, dropping to an austere deadpan for his rapping and ascending to a syrupy coo for his singing. “Don’t catch you slippin’ up,” Glover warns as he pulls off the balancing act with ease.

In his past music, this versatility would have been a humblebrag; here it becomes conflict. The video for “This Is America,” directed by Glover’s frequent collaborator Hiro Murai, turns this tension into satire. Bare-chested and sprightly, Glover trots through a warehouse dancing and gunning people down; seamlessly transitioning between these activities, his face is inscrutable, hidden behind a smile. The video and song use the candor of trap to ground the rapture of black joy, and thus the ambivalence of the United States’ relation to blackness. “Are we your blessing or your bane?” Glover seems to ask. It’s an urgent and worthwhile question.

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The bulk of Childish Gambino’s work trafficks in iconoclasm, distinction from the rest of the rap pack; hearing him adopt such Atlantan sensibilities, backed mostly by Atlanta rappers, almost feels like revisionism. He is from Atlanta, but that connection has only recently migrated into his work and has often felt transactional, a trend that continues here. It’s hard not to wonder what he gains from this reclaiming of his hometown.

Analysis: Donald Glover's New Childish Gambino Video, 'This Is America' NPR Music's hip-hop journalist Rodney Carmichael breaks down the political and racial nuances of Donald Glover's new video. Childish Gambino's shift in sound on his 2016 Awaken, My Love! Album left many wondering what would follow. As Atlanta's 'Robbin Season' winds down and Star Wars SZN heats up, the artist has.

“This Is America” works without such self-examination, but Glover’s stake in this conversation is noticeably absent. Glover powerfully invokes America’s testy relationship with blackness, but what about his own?

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In his as the host of 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 “” was also the episode’s musical guest, performing two new songs as his hip-hop alter ego, Childish Gambino.

The 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.). ‘Donald Glover’s “This Is America” Is a Stylish, Ambitious Provocation — But What Is It Actually Selling?’ K.

This Is America Childish Gambino Video

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’ Damon Young points out the danger of setting up Glover as the antidote to another black male artist, Kanye West, whose 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’ 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.”.