Donald Glover, the artist formally known as Childish Gambino, has dropped a new album—and it’s beautifully minimalist.

On March 15, 2020, the modern renaissance man teased the album with a loop on the website donaldgloverpresents.com, only to take down the music 12 hours later. A week later, the album was released in full to streaming services worldwide under the name 3.15.20. 

At first look, the album might seem amateur—or even bootleg—in presentation. The cover is a simple white square, lacking even an artist accreditation or title, making it officially even more plain than the cover of The Beatles’ eponymous white album. All but two of the tracks are unnamed (“Algorhythm” and “Time”), instead being listed simply as their timestamp (“0.00” is the first, “24.19”is 24 minutes and 19 seconds in, and so on). And the title is, of course, just the date the album was first teased, leading many to identify it rather as Donald Glover Presents. 

The music, however, is anything but boring. Past the nondescript façade of its packaging, 3.15.20 offers 12 emotionally charged and passionate tracks showing off Glover’s impressive range. Stylistically, this album could be adequately described as a sequel to his 2016 funk powerhouse “Awaken, My Love!”, overall focusing more on bass, synth, and soothing vocals than the harder-hitting hip-hop treatment of Camp and Because The Internet. 

Though the album is much more powerful than the sum of its parts, a few tracks deserve individual mention. The second track on the album, “Algorhythm”, features heavily synthesized beats and stylistic use of voice modulation that makes it feel ripped right out of “II. Earth: The Oldest Computer (The Last Night)”. “12.38”, or “Psilocybin” (as I would name it), includes phenomenal appearances from fellow Atlanta native 21 Savage, R&B artist Kadhja Bonet, and vocalist Atia “Ink” Boggs. Savage’s verse touches on police brutality and the repercussions of success, and somehow still flows seamlessly with Gambino’s earlier verse about tripping on shrooms. Additionally, Glover’s hit “Feels Like Summer” is featured as “42.26”, with no changes other than an added 15 second intro. This song, originally part of the Summer Pack EP, delivers ever-pertinent lines on mankind moving too fast and destroying the world in its wake.

More than any other, however, “47.48” deserves mention. The song opens with a few synth notes reminiscent of the opening to “Baby Boy” and seems to follow a similar theme. As in “Baby Boy”, Glover talks to his son Legend through the lyrics. The twist? Four years later, Legend is old enough to respond, and he does. The outro consists of a low, ethereal backing track as father and son discuss what they love. Though it is not the last song on the album, “47.48” feels like a finale to both the album and the Childish Gambino story that started years ago with mixtapes like Sick Boi and Culdesac. In 2018, Glover had his second son. Later that year, his own father passed away, and in a few months Glover announced he would be retiring the name Childish Gambino. 

It seems, then, that Donald Glover’s minimalist design is neither laziness nor accident. Rather, 3.15.20 represents a blank slate upon which Glover can begin the next chapter of his life. Though Childish Gambino is perhaps my favorite artist this side of Y2K, it would be selfish for me to ask more of him past this album. It is time for him to stand aside and allow Donald Glover to shine—as a writer, as an actor, and as a father. 

The post The Art of Simplicity: A Look Into Childish Gambino’s “3.15.20” appeared first on SCAD Radio.

Needless to say, it’s been a time. Here’s SCAD Radio’s 10 favorite albums of the decade. Also, don’t forget to disagree with our Top 10 Song of the Decade list and our 2019 lists on the best songs and albums from this year.

#10 The Suburbs– Arcade Fire (2010)

“You only get one childhood.” Every Grandpa was onto something. Now we’re stuck reminiscing on our youth just like the Montreal collective, but with a fitting mix of good and bad recollections. Sure, you hated Middle School, but that doesn’t mean you wouldn’t pounce on the opportunity to go back and play Call of Duty: Modern Warfare 2 with your friends again. It’s this love/hate relationship we hold with our childhood that Arcade Fire dug up in a way only they could.

#9 Good Kid, M.A.A.D City– Kendrick Lamar (2012)

By the time 2012 rolled around, hip-hop had seen its fair share of hood-set origin stories. That didn’t stop Kendrick Lamar from making an album with a sprawling cast to detail his upbringing. Good Kid, M.A.A.D City plays like a biopic of the man behind it as a teen born into the violence and poverty of Compton. Its resonance comes in the LP’s ability to reach those beyond Section 8. Sure, it’s a tale of a kid coming up through the ghetto on the surface, but it’s a coming-of-age tale on the fight to fit in, a war the youth inevitably enter no matter their background.

#8 Electra Heart– Marina and the Diamonds (2012)

The artist of the alt-pop aesthetic back at a time when Billie Eilish was busy watching Saturday morning cartoons, Marina Diamandis’ soapy tale of the tragic titular starlet flashes a wider lens of commentary than its genre would have you believe. Electra may not have received as much mainstream recognition as Taylor or Katy- the LP’s themes were far too mature for family-friendly radio. That’s part of the appeal to Diamandis’ second full-length: it harbors the sound of our other pop heroes, but dares to go darker than your niece’s beloved boy bands.

#7 Blackstar– David Bowie (2016)

The world may have lost Ziggy back in 2016, though he got around to one final release two days before riding a tiger made of lightning into the afterlife. Blackstar makes up for Bowie’s 21st century hiatus, a swan song equivalent to Johnny Cash’s “Hurt” from an icon who proved to be a music genius ‘til the day he died.

#6 Blonde– Frank Ocean (2016)

The trademark example of “there’s no way it’s gonna be better than the debut” turned “holy sh*t, this is better than the debut,” Frank Ocean’s creamy style of sonically downbeat complexities is even more alluring than 2012’s Channel Orange. The gentle record dove deeper into Christopher Breaux’s fragile alter ego, one of the decade’s most fascinating enigmas.

#5 Lemonade– Beyoncé (2016)

First comes love. Then comes marriage. Then comes Blue Ivy in a baby carriage. Then comes Solange ambushing Hov in an elevator, and the saga is on. Lemonade was the precise type of medicine the A-list pair needed, but also a reminder to crumbling couples that love can conquer all. Not even Nicolas Sparks could craft such an authentic telling of the confusion, ire, and forgiveness of a love story rocked by infidelity. 

#4 Contra– Vampire Weekend (2010)

Unless you’re the woman who never consented to be used as the LP’s cover model, what’s not to like about Ezra Koenig & co’s second effort? Released all the way back in early January of 2010, the first great album of the decade elaborated on the chamber pop perfection of their eponymous debut, capitalizing on a VW trademark of upbeat sounds contrasting heavy lyrics. 

#3 To Pimp a Butterfly– Kendrick Lamar (2015)

Call Kendrick Lamar’s 2015 opus what you want: a dig on institutional racism, a gaze through the eyes of a celebrity headed for a downward spiral, a call to action for black communities, any of those and more are right. Every word from the Compton MC’s pen seeps into your soul, so much so that it’s impossible to gain everything without multiple respins. He hits with the smash of a slam poet and the layers of a Christopher Nolan film in hip-hop’s most epic adventure to date.

#2 AM– Arctic Monkeys (2013)

The official album of kids who were “too cool” to give in to the One Direction hysteria of 2013, the British rockers’ fifth effort is easily one of the most purely listenable LPs ever. The villain-intro riff to begin “Do I Wanna Know?,” the raging solo on “Arabella”, so many moments that have cemented a legacy to this generation, as well as good old rock ’n’ roll.

#1 Because the Internet– Childish Gambino (2013)

This LP holds the power to invoke cherished iPhone 5 playlist memories with the utterance of any of its quirky phrases. It was some kind of universal language to reference quips like the many puns or the monumentally simplistic Chance the Rapper feature. And my, how fitting the title is. One can imagine all the traffic Urban Dictionary must’ve picked up from awkward 14-year-olds wondering what a “GPOY” was. It’s got music for casual ears (“3005”), Monster-chugging teens cutting class (“Worldstar”), and Summer beach parties (“The Worst Guys”), all told from the perspective of its resident insecure weirdo. The dude even wrote a screenplay for it. If that doesn’t scream art school for you, I don’t know what does.  No wonder SCAD kids voted it the best album of the 2010s.

The post SCAD Radio’s Top 10 Albums of the Decade appeared first on SCAD Radio.

Kacey Musgraves scored Album Of The Year for her magnificent Golden Hour. Submitted into the awards in the “Country” category, some would say the LP is anything but. Musgraves hails from Texas and is certainly a country artist, but her interpretation of the genre reaches far past the south. Only it’s not a rerun of Taylor Swift’s transition into full-on mainstream pop: Musgraves dips her feet into disco-pop sounds, and even sings into a vocoder on the song “Oh, What A World”, but somehow still maintains the enjoyable glitz of the genre. You don’t have to be a fan of country music at all to appreciate her work- it’s even possible her concerts gather more country haters than actual country diehards.

Golden Hour is backed by gorgeous acoustic production. Every guitar stroke is intricately placed alongside Musgrave’s skilled songwriting ability. The 13-song tracklist is ripe with variation. There are bouncy jams like “Velvet Elvis” and the disco-pop banger “High Horse”. It’s got mellow love songs like “Love Is a Wild Thing” and the delicate “Butterflies”. She packs a plethora of clever cowboy references guaranteed to put a smile on your face despite “Space Cowboy” being a breakup song. One of the things that’s caused Musgraves to get “shunned” by the core country music crowd is her advocacy for LGBT rights, which she explores on the closing “Rainbow” (which Musgraves performed at last night’s Grammys).

It’s consistency that really makes the album shine. There are zero skippable songs across the LP. Even the 78-second long piano-driven “Mother” offers insightful emotion into Musgraves’ life. Her smart lyrics are understandable for anyone, rural upbringing or not, while her inviting vocals set the tone for an album that never overstays its welcome.

Riding an 89 Metacritic score, the LP was undeniably a critical darling. Its victory and Childish Gambino’s Record & Song Of The Year wins hint at a much-needed 180° for the awards. Following recent controversies, the Academy enlisted a more diverse pool of voters to address the lack of recognition for the other 98% of music that’s not on mainstream radio. The Grammys were careening towards the bottom after the debacles of the past few years, but the 2019 show pointed towards a brighter future for the best artists to get the praise they deserve. Golden Hour was the best choice for Album Of The Year, and I’m absolutely bewildered and grateful for Kacey’s win. Here’s to hoping the Grammys can keep it up.

SCAD Radio gives Golden Hour a 9.2/10.

The post Why Golden Hour Deserved to Win Big at Last Night’s Grammys appeared first on SCAD Radio.

Album Of The Year

Should Win: Golden Hour– Kacey Musgraves or Dirty Computer– Janelle Monáe

Will Win: Dirty Computer– Janelle Monáe

Drake and Post Malone are clearly more mainstream here, but one of the culprits of Grammys past has been the “genre-splitting” phenomenon. Compared to other award shows, voters here tend to lean toward a specific genre more than they would in voting for movies or television. In instances where multiple artists of the same genre compete for non-genrefied awards (basically all the biggest prizes of the night), the votes tend to get divvied up between them, resulting in all parties getting screwed. This year, hip-hop-leaning voters will choose from Cardi B, Post Malone, Drake, and the rap/R&B hybrid Black Panther album. Therefore, Musgraves and Monáe have a clear advantage this time around.

That’s not to mention the acclaim of their two LPs. Both were able to land on many year-end best lists in 2018, including SCAD Radio’s. Musgraves’ fantastic Golden Hour made a heavy impact outside of the country music realm and became a critical darling with its beautiful acoustics and pleasing songwriting. Dirty Computer doubled as an anthemic pride album and a sci-fi epic of a short film. Both are equally deserving of the night’s final prize, but expect Monáe to come out on top just because she’s a little more popular than the often-overshadowed country genre.

Record Of The Year

Should Win: “This is America”- Childish Gambino

Will Win: “God’s Plan”- Drake

This one almost always goes to something that got tons of radio play, and Drake’s “God’s Plan” takes the cake for most FM cranks. It’s a tough call, because “All the Stars”, “rockstar”, and “Shallow” have also gotten a fair amount of air time, but the lead single to Scorpion will land Drake his first Record of the Year victory. This is Gambino’s 2nd time in the category (was up last year for “Redbone”), and “This is America” certainly made waves with its politically fueled music video. He’ll be a sure bet to score Best Music Video, but probably not here.

Song Of The Year

Should Win: “This is America”- Childish Gambino

Will Win: “Shallow”- Lady Gaga & Bradley Cooper

For those that don’t know, Song of the Year focuses solely on the lyrical composition of the music, whereas the former centers on how the songs sound. With that being said, expect the Star is Born duo to nab the first Song of the Year from a movie since Titanic’s “My Heart Will Go On”. The musical-drama grossed more than $400 million worldwide, and its use in the film was more relevant than end credit nominee “All the Stars” from Black Panther. It’s got all the emotion and epicness of Celine Dion’s hit, but it’ll likely come above “This is America” due to the Grammys’ sordid history with the hip-hop genre.

Best New Artist

Should Win: Dua Lipa

Will Win: Dua Lipa

Jorja Smith had a respectable debut last year and is undeniably a talented R&B singer, but Dua Lipa’s hits like “New Rules” and “IDGAF” top all the other nominees. No one else here is as big of a name as the British pop star, either, a huge factor in the Grammys these days. Perhaps the only competition she has is the divisive Led Zeppelin ripoff/tribute (depending on your perspective) band Greta Van Fleet, whose love ‘em or hate ‘em style caught the attention of many voters. It’s also worth noting H.E.R. is in this field, as well as Album of the Year, but it isn’t always a shoo-in that she’ll score the Best New Artist trophy.

The remainder of the field is extensive, but there are some noteworthy possibilities. Experimental EDM artist Sophie could become the first-ever transgender Grammy winner with her album Oil of Every Pearl’s Un-Insides. Black Panther could make history yet again if its album scores AotY, with the film’s Best Picture bout waiting in the wings at the upcoming Oscars. There’s never been a movie that scored the top Academy Award and whose album garnered the top Grammy trophy as well. The nominations do raise a few eyebrows here and there (Weezer’s Pacific Daydream? Seriously?). This is, after all, the Grammys. Alicia Keys hosts the show on Sunday.

The post 2019 Grammy Preview appeared first on SCAD Radio.

Childish Gambino will release his 4th and allegedly final album.

Despite not putting out an EP or album, Childish Gambino did more than enough last year with spectacular songs- nay- “experiences” like “This is America” and “Feels Like Summer”. He hasn’t had an LP since 2016, so the chances of a fourth full-length are more likely than ever. On top of that, he’s presumed this record will be his last. As for the Gambino stage name, some speculate he’ll continue to make music under his regular name or a perhaps brand new moniker. Only time will tell.

6ix9ine will be sentenced to prison.

The most hated rapper on the planet made headlines with his trashy music and even trashier behavior. The rainbow-haired man behind “Gummo” first got involved with the law thanks to a sexual gesture caught on video with a 13-year-old girl, but now faces a minimum of 32 years in prison for armed robbery, distribution of drugs, and conspiracy to commit murder. Hopefully this untalented jackwagon gets locked up for a very long time to spare our children from his pedophile demeanor and horrendous music.

Grimes will have the best album of 2019.

Claire Boucher’s work progressively gets better with each release. The Canadian artist didn’t make too many waves with a pair of albums from 2010, but wowed with songs like “Oblivion” and “Genesis” on 2012’s Visions. Then in 2015, she released the ebullient Art Angels to widespread acclaim. Last November, she dropped the ferocious “We Appreciate Power”, a spine-tingling nu-metal revival that hints at an AI-takeover theme for the upcoming LP. In the pinnacle of her career, Grimes is poised to conquer 2019.

Avril Lavigne’s comeback album will please, but won’t be enough to bring her back to superstardom.

Lavigne’s career has been on the down since she reached the top of the world with classics like “Sk8er Boi” and “Complicated”. It’s only been a few years since that abysmal “Hello Kitty” song & cringeworthy music video, but the emotional titular single for her next LP assures Head Above Water will be a different story. The album is out February 15th, and the possibility of Lavigne creeping back onto playlists seems imminent. However, while the single is a respectable rewelcoming ballad for the early-2000’s icon, it was inferior to last year’s more memorable career 180° track, Kesha’s “Praying”. It’ll confidently be her best work since 2002’s Let Go, but Lavigne’s days on top are behind her.

Blueface will have the worst album of 2019.

Whether you thought Blueface’s odd breakout “Respect My Crypn” was innovative or pathetic, it was undeniably entertaining to hear (and even more entertaining to scroll through the comment section). The intentional(?) lack of synchronization of the beat and the rapper’s awkwardly high-pitched bars granted a memeworthy tune. It remains to be known what the LA rapper will do next, but we shouldn’t expect much from a potential mixtape or LP. Even those who found the gig clever won’t enjoy the schtick stretched out to a full-length release.

Maggie Rogers will be 2019’s best breakout.

As a college student in 2016, Maggie Rogers became a viral sensation during a masterclass session with Pharrell Williams. Her folk-inspired pop brand captured the heart of the longtime producer, as well as execs to spawn her 2017 EP, Now That the Light Is Fading. On January 18th, her debut full-length will hit streaming services. Heard It in a Past Life contains “Alaska”, the track that made her famous, along with singles she performed on her recent Saturday Night Live gig. Already touted as a prodigy, the Maryland singer is set to surge this year.  

Ariana Grande will date Michael B. Jordan next.

No one else in music garnered as much E! News attention last year as Grande, following her quick engagement and even quicker split from SNL star Pete Davidson, plus the sudden passing of her former lover, Mac Miller. Still, the singer persevered with the honest and mature Sweetener, then magically crafted praise for her many exes in the fantastic “thank u, next” single for another album set for this year. Many speculate who the star will date next, and I think it’ll be Black Panther star Michael B. Jordan. Think of it: blending Killmonger’s cruel attitude yet traumatic past with Ari’s diva ego and aforementioned recent heartbreak makes for one hell of an “it” couple.

Migos’ Culture III will have some fun tracks, but will overall be a disappointment.

In 2017, the Migos album Culture brought trap rap to the forefront with bops like “Bad and Boujee” and “T-Shirt”. A year later, they dropped the sequel to far less praise. While it certainly had its moments, Culture II was bloated and repetitive across a 24-track length that was clearly extended to rack up streaming numbers. Further on in 2018, Quavo and Takeoff unleashed solo albums that didn’t show any signs of improvement. With Culture III around the corner, the Atlanta trio could expect a few hits, but if the LP is as drawn out as its predecessor, the project as a whole will fall flat.

The post Music Predictions for 2019 appeared first on SCAD Radio.

As with the conclusion of any Earth cycle, it’s time for SCAD Radio’s favorite tracks that made 2018 suck less. After rigorous debate and a sophisticated voting process, we have rounded out our overall choices for the 10 best songs of the year.

Also be sure to check out our top 10 albums of 2018.

#10- Nice for What- Drake

For the most part, it seemed fans loved Scorpion “only partly”. While much of the LP fell flat, “Nice For What” brought more of the upbeat and fun music Drake has become a household name for. Taking a bite from Lauryn Hill’s “Ex-Factor”, the Canadian rapper constructs a women’s empowerment tune complete with a star-studded music video of famous females.

Listen here.

#9- Tints- Anderson .Paak feat. Kendrick Lamar

The funkiest man in music right now teams up with rap’s reigning king for a nostalgic bop. Fans anticipating the lead single for .Paak’s third album, Oxnard, got what they wanted. “Tints” begins with a delicious ‘70s-centric disco beat as the Dr. Dre. prodigy and Lamar dive into their distaste for the paparazzi. Channeling his inner James Brown, Anderson .Paak summons perhaps his flashiest tune to date.

Listen here.

#8- Make Me Feel- Janelle Monáe

Bubbly, catchy, and clearly Prince-inspired, the single to Dirty Computer warps the pop & R&B styles the electric lady is known for mixing. With that finger-snap bassline to the “bass drop” chorus of sorts, “Make Me Feel” made us feel “so f*ckin’ real”.

Listen here.

#7- Fists of Fury- Kamasi Washington

Clocking in at nearly 10 minutes, the opening to Kamasi Washington’s Heaven and Earth is nothing short of epic. A fight song at heart, but a jazzy ballad for the ages nonetheless, the saxophonist’s combination of roaring brass and racing drums ensure that listening to “Fists of Fury” only through headphones limits the thunderous experience.

The full track isn’t available on YouTube, but you can listen to a live version here.

#6- Cool- Soccer Mommy

A ringing yet soft guitar carries us into the underdog world of one of indie rock’s most promising stars. “Cool” details the girl who’s too good for you through the eyes of the girl on the sidelines, Soccer Mommy. Capitalized with a simple chorus that’ll have you belting out “you-ou-ou-ou”s of your own, one of 2018’s best breakouts finishes the track with a nicely done slow fade-out.

Listen here.

#5- High Horse- Kacey Musgraves

The disco-pop glitz of “High Horse” would never leave a first-time listener to guess Musgraves is a country artist. The songwriter ventures further and further away from the genre she once called home, and in all the right ways. The danciest track from the terrific Golden Hour wonderfully displays the Texan evolving far beyond her comfort zone.

Listen here.

#4- All the Stars- Kendrick Lamar & SZA

The end-credit tune from Marvel’s groundbreaking Black Panther movie shines thanks to two of Top Dawg Entertainment’s finest hitmakers. Kendrick Lamar’s motivational verses in the guise of T’Challa complement the superhero’s story, and SZA’s powerful vocals anchor the uplifting chorus. Wakanda forever indeed.

Listen here.

#3- This Is America- Childish Gambino

When Donald Glover and his stage name Childish Gambino were announced to be the host and musical guest for Saturday Night Live, it served as a conformation of new music. The same night Gambino performed at the New York venue, the music video for the America-criticizing song was unleashed for the internet to interpret. He surprised everyone with the psychedelic shift in genre on songs like “Redbone”, but Glover made an even bigger splash with this instant classic and it’s mind-boggling video.

Read our review for the iconic music video here.

Watch the music video here.

#2- Nobody- Mitski

Everyone experiences loneliness at some point in their lives, even if you’re an indie giant like Mitski Miyawaki. Starting with a light percussion tap and concluding with a roof-raising chant of the track’s title, the Japanese-born singer/songwriter pairs feelings of isolation with a bouncy riff that launched her from underground to indie fame.

Listen here.

#1- Feels Like Summer- Childish Gambino

If you haven’t realized by now, it was a big year for Donald Glover. Following the cultural phenomenon “This Is America”, the music world couldn’t expect what the multi-talent would do next. In sync with the “jigsaw-puzzle” vibe of the former, “Feels Like Summer” tactically misled viewers on a seemingly relaxing animated bit with various rappers and public figures from J. Cole to Michelle Obama. Even the video’s finale of Gambino entering his house as the sun sets is thought to reference the rumors his upcoming fourth album will be his last. Nevertheless, for those of you who didn’t know, the song is actually about climate change and global warming. Yeah.

Listen here.

The post Top 10 Songs of 2018 appeared first on SCAD Radio.

Since the Halloween of 1999, Voodoo Fest has brought a large onslaught of acts to the Mardi Gras City. The historically colorful and bright culture of New Orleans is the perfect atmosphere for the world of Voodoo. And what better time to host the ceremony than the weekend leading up to the spookiest day of the year?

When entering the gates of New Orleans City Park, there is already a sense that the concept of judgement is replaced by a sense of exuberance. Attendees are decked out in their finest festival outfits and costumes, ranging from the typical festival attire to outrageous Halloween makeup. People know they are in a safe place. Art tents and kiosks sell unique jewelry and accessories for purchase, brightening up every buyer’s look and establishing community. The themes of individual expression were aggressively prominent in the overall vibe of the event.

Artists like Janelle Monáe (side) and Lizzo promote the female form, self-love, and body positivity openly in songs such as “Pynk” and“Good as Hell”. Other acts including Marilyn Manson and Arctic Monkeys used their platforms to address viewpoints freely on the current political climate. Societal taboos and statements are openly discussed from the artist’s concern to a hungry audience of ears, eager for leaders and trail blazers.

One of the most controversial announcements of the weekend was Childish Gambino’s replacement by Travis Scott after a reportedly serious leg injury. Scott’s performance of high energy and accompanied beats converted any disappointed Gambino fan’s heavy heart into instant relapse, enjoying every lyric of his recent #1 album, ASTROWORLD.

Voodoo truly allowed inspiration to take over the body of all-comers, just as powerful as the supernatural doll it’s named after. An experience for all who look for an escape from the controlled world, Voodoo Fest was a breath of fresh air.

The post Travis Scott, Arctic Monkeys, and More Rock Voodoo Fest 2018 appeared first on SCAD Radio.

Much of the brilliance lies within the background. Black people running around in a frenzy are easy to spot behind the dancers, but there are even tinier details to miss. A video that demands to be rewatched and dissected, keen-eyed viewers will pick up on obscure bible references and Jim Crow caricatures poses, just to name a few. Even SZA makes a brief cameo towards the end, making a good case that she’ll be featured on his upcoming fourth album.

The simplicity of having Gambino and his dancers prance around in the foreground plays into a variety of interpretations. In a country that eats up black culture, the dancers could represent how oblivious some Americans are when it comes to realizing the turmoil minorities find themselves in, as opposed to the glitz and glamour on the TV screen. It could also be a jab at recent criticism towards black celebrities for getting “too political”: the crew is so concentrated on dancing, they don’t even acknowledge all the chaos happening around them. That’s the beauty of “This Is America”, at its core a deeply layered gem that only gets better and better the more times it is seen. So much so, it’s popularity on trending pages is outdone by breakdowns of the actual video.

If there’s any downside, it won’t be the same to listen to just the audio for this track. Part of me hopes it’s left off his next LP to ensure this song stays synonymous with the already iconic video, but hype for a Childish Gambino album is now at an all-time high thanks to this juggernaut lead single. Top-tier in its relevance and genius in its execution, the visuals conjured up by Glover and his Atlanta director Hiro Murai have cemented the legacy of “This Is America” as one of the greatest music videos of all time.

The post This is America Sends Waves Across the Nation appeared first on SCAD Radio.