Tag Archives: Childish Gambino

What Were the Best Music Videos of the 2010s?

The 2010s were an odd decade for music videos. The medium seems to have both a record audience and a diminishing importance. Music videos at the beginning of the decade measured the celebrity of an artist. The best were (for some reason) often considered those with the most cameos of other celebrities.

Now, viewership is overwhelming, there’s more access to music videos than ever before, and that interest is much more fragmented. Websites dedicated to covering music videos have gone under. A star can no longer maintain their celebrity solely on opulently produced music videos.

Are these good things or bad? It’s genuinely hard to say. It’s an evolution. I certainly don’t mind that stars themselves have become less central to music videos. When they do feature, it’s less about anchoring the video to a musical performance and more about how the star features, highlights, or contrasts to a story taking place. It leaves more room for narrative, setting, a director’s touch, dance, choreography, performance.

These are the 10 music videos of the last decade that stick with me the most:

10. “Land of the Free” – The Killers

directed by Spike Lee

Hope can’t function without the work to realize it. Change doesn’t happen unless people enact it. Spike Lee’s video for The Killers’ “Land of the Free” speaks to the sad, backwards phase the United States has found itself embracing. We’re running concentration camps for Latinx immigrants, tearing children from their parents and keeping them locked away for no reason. Incarceration has been transformed into a modern version of slave labor for the prison industry. Children are shot in our schools with no real effort made to decrease the risk they face.

“Land of the Free” is a Rorschach test for how you’re feeling that day: hopeful, angry, motivated, hopeless, desperate. All of those feelings are part of a whole. All of them are legitimate and natural. Just keep taking the next step to changing something. Keep taking the next step of the work that feeds that hope and one day realizes it.

9. “Happy” – Mitski

Content Warning: Gore

directed by Maegan Houang
produced by Ben Kuller

Mitski’s likely had the strongest music video output in the last half of the 2010s. There are a number of her MVs that could make a list like this: “Washing Machine Heart”, “Nobody”, “A Pearl”, “Your Best American Girl”.

Many of Mitski’s videos center on the dissonance of being biracial. Director Maegan Houang’s “Happy” might investigate this best in terms of the white beauty standards held against women of color. What the video reveals is how racism is used to undermine feminism that isn’t intersectional. While it supposedly prizes white women over women of color, it’s ultimately used to suppress both. White patriarchy doesn’t enable or reward women held as successful in it, it just points them at another marginalized community while both are victimized.

8. “Genghis Khan” – Miike Snow

directed by Ninian Dorff
produced Sarah Boardman, Rik Green
choreography by Supple Nam

And now for something happy. A surprise hit that came out of nowhere, “Genghis Khan” is a terrific love story that exemplifies the strengths of music videos as a medium. It communicates its ideas quickly and upends your expectations through song, dance, and just a few cutaway shots.

We’re familiar enough with the tropes it plays with that it doesn’t need any more than this. It’s successful because it can tell a story in under four minutes with very broad strokes and a bare handful of specifics that establish and then invert cliches we love. It’s expertly directed because it knows where to pull back and trust the audience.

7. “Elastic Heart” – Sia

directed by Sia, Daniel Askill
choreographed by Ryan Heffington

Dance can communicate a great deal, including the inability to escape certain struggles and bring the people we love with us. Sia has discussed the video in terms of being two sides of her personality, and it also works as demonstration of family members struggling and fighting – sometimes with each other. A daughter learns to cope with mental illness and trauma and a father can’t escape its impact – whether because it’s too late or too progressed, he simply didn’t have the tools and help in time.

The responses to this video were understandable. Many worried about connotations of pedophilia at the idea of Shia LaBeouf dancing opposite Maddie Ziegler in a cage. Impact outweighs intent, so it’s appropriate that Sia herself quickly clarified the aim of the video and didn’t seek to blame or attack those who were concerned about it.

As a metaphor for mental illness and trauma recovery, it can be powerful. The video itself is the sum of a number of smart decisions. Ryan Heffington’s choreography is off-kilter and imbalanced, playing with the power dynamic and difference in size between his two dancers. The camera remains still at various points only to explode into motion. The editing is energetic and chooses its patient moments. There’s sometimes a slight fish-eye effect used in shots taken from inside the cage that creates a slightly distorted perspective. And of course, the two dancers are phenomenal, both in their choreography and in their performances as actors.

6. “What Kind of Man” – Florence + The Machine

directed by Vincent Haycock
produced by Jackie Bisbee, Mary Ann Marino, Alex Fisch
choreographed by Ryan Heffington

Florence Welch has a catalog of fearless performances in music videos. Perhaps none of them match “What Kind of Man” for their range and the flexibility of their interpretation. Welch and Director Vincent Haycock put together a 48-minute film called The Odyssey, composed of nine original Florence + The Machine music videos. “What Kind of Man” serves as the opener to it.

I’d describe it as a burgeoning storm of a music video if it wasn’t expressly making that comparison within the video itself. The range of scenes swings wildly across intimate experiences, framing an entire rocky history of trust, anger, desire, shame. We come away with the shape of what someone’s love life has felt like – whether across multiple romances or just one is hard to say. We understand the gender inequality that played into it, the feelings of disaster and healing that accompanied it.

If we were asked to build a chronology of events out of the video, we couldn’t possibly. Yet if we were asked to describe the feelings surrounding those events, we could describe what the video shows us for far longer than it runs. “What Kind of Man” is like an impressionist painting – we may not be able to identify individual objects in it, but we can describe exactly what it feels like.

(I had this list sorted out before I looked at the production and choreography credits. Lo and behold, choreographer Ryan Heffington again. I supposed I should be looking for more of his work.)

5. “The Body Electric” – Hurray for the Riff Raff

directed by Joshua Shoemaker
produced by Dan and Cathleen Murphy

Hurray for the Riff Raff’s protest anthem “Pa’lante” could just as easily have made the list, but “The Body Electric” is the music video I go to when I feel most helpless in changing things. It’s not because the video makes me feel hopeful. It’s because it makes me see how much more hopelessness out there is felt by others, how many marginalized communities are struggling and seeking for their voice to be legitimized, to be seen as human. The sheer volume of that struggle isn’t reassuring, but I know we’re none of us alone in that struggle. The hopelessness I’m feeling isn’t unique, or unprecedented, or insurmountable. It’s a desired effect of the racism I fear and fight against, of the misogyny and transphobia addressed in the video.

“The Body Electric” reminds me I’m not alone. There are more of us who want to change things than those who want them to remain this way. That pain is heard. It’s felt. It has platforms. People are fighting every day. I don’t fail if I’ve fought until exhaustion. We all have at some point. I fail if I don’t recognize that in others, if I don’t see the communities who are all in this. Art like this can be poignant in driving a point home, and it can also serve as a bridge to the lonely and exhausted that reminds them it’s OK, that exhaustion is shared, just as overcoming it is shared.

4. “Quarrel” – Moses Sumney

directed by Allie Avital, Moses Sumney
produced by Meghan Doherty

Moses Sumney’s song speaks of the power imbalance in a relationship between people of different privileges. The music video deals with the desire to transform into something he cannot, the fairy tale that people of color can be seen as the same when the difference that’s applied to them is itself illusory. We turn the hate of that inward in an impossible effort to become the things that hate us.

Or, the music video deals with the desire to oppress and cause violence to those we care about who don’t have the same privileges, and it’s not until Sumney puts himself into the shoes of those he oppresses that he can understand how his actions cause harm.

“Quarrel” is difficult to parse. Like many great fairy tales, it can say multiple things depending on your point of view.

3. “This is America” – Childish Gambino

directed by Hiro Murai
produced by Danielle Hinde, Jason Cole, Fam Rothstein, Ibra Ake
choreographed by Sherrie Silver

Obviously, “This is America” belongs high on any list like this one. Why does it work so well for so many people? It speaks to a country (and cultural movement across many countries) that increasingly uses fear to dominate and radicalize its people against each other. It builds layers of violent imagery immediately ignored with smiles and dancing. The smiles and dancing immediately enable the next eruption of violence.

Nothing is healed in that cycle. All of us quietly fear it while simultaneously feeding it, participating in it, enabling it. It fuses together the acts of violence and illusions that erase them to evoke a lurking fear that we use those illusions to suppress and deny.

2. “RAPIN*” – Jenny Wilson

Content Warning: sexual assault

animated & directed by Gustaf Holtenas

Jenny Wilson’s 2018 album EXORCISM is an unraveling of after-effects from a sexual assault. The entire album serves as a maelstrom, an extensive fallout of damages and dealing with them. Its uncomfortable discussion of recovery as a process that often repeats the trauma is stark and realistic. There’s no before-and-after picture to it.

“RAPIN*” is the first song on the album, a fever dream that serves as a terrifying monument in life that can never be erased. Gustaf Holtenas’s animated music video reflects that terror in a way that’s both surreal and sickeningly physical.

It’s not a representation that can be easily digested. It’s confrontational, visceral, revolting, haunting. It conveys how trauma changes the way someone sees the world from that point forward, how the event itself replays in their mind. It’s a direct and painful music video that places the viewer into the shoes of the victim, if only to describe in some slight way something that can’t be described.

1. “Afterlife” – Arcade Fire

directed by Emily Kai Bock
produced by Anne Johnson

The best we can do for the people we’ve lost is remember them. Sometimes we can only do so in impressions. Perhaps its a TV show you grew up watching with them. Perhaps its a place where you danced. Perhaps its a shoulder you rested upon. We don’t always have access to these things anymore. We reach out to them in our imaginations, in our dreams, we try to resurrect them in the art we create.

We try to touch them just one more time, to evoke something lost – their image, their voice, their presence. Sometimes a death can feel like nothing will ever be the same. Sometimes it can feel like they just stepped out for a minute, and they’ll be right back.

“Afterlife” deals in the impressions we might remember in our dreams, the memories of work and leisure a father might have, a teenager’s memory that’s precise but lacks context, the brief feeling of reassurance after a child’s nightmare.

“Afterlife” is sad and longing, but it’s also immensely reassuring. It shares one glimpse of something we all feel in our lives, at a way our hearts all break and mend until we can test their breaking once again because we so dearly want to remember those we’ve lost.

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The Best Music Videos of 2014 (So Far) — #25-16

90s Music Kimbra

by S.L. Fevre, Cleopatra Parnell, Vanessa Tottle, & Gabe Valdez

Let’s take this chance to meet our writers.

S.L. Fevre joins us for only the second time from Los Angeles. An actress, model, and experimental filmmaker, she brings on board a unique industry experience. She also contributes hip hop and rap expertise, but is a fan of narco rock and modern grunge as well.

Cleopatra Parnell kept us down to earth in our 3-part conversation on Lana Del Rey’s “Tropico” and helped us select for our Best Music Videos of 2013 series. A musician and alt-model living in “Austin, Texas, greatest city in the world” she puts the priority on good stories, humor, and solid lyrics in thrash metal, “epic Viking rock,” punk, and house music videos.

Vanessa Tottle has written for us quite a lot. Her most recent solo articles were her touching E3 reaction and her searing declaration of war after the Isla Vista shootings. She’s a fan of folk, alternative, and Asian pop music, but couldn’t care less what the music is if your video conveys a message.

If you follow us, you might already know I’m a film critic living in Massachusetts. I have some particular tastes – I like brash, experimental music videos, good dance if you’ve got it, that place where electronica and hip hop meet, and what’s left of alternative music.

-Gabe Valdez

P.S. Due to music copyright law, we can only feature some videos here. Click on each title to watch every video directly on YouTube.

25. Really Don’t Care – Demi Lovato feat. Cher Lloyd
directed by Ryan Pallotta

This video unabashedly makes a statement. Demi Lovato has the following that only being a Disney music and TV star can give you – her demographic is youthful and open-minded. Not all of them have decided their politics, but they will soon, since she’s been around for a while. What better time to make a statement that “My Jesus loves everybody,” than at the L.A. Pride Parade?   -Cleopatra Parnell

24. Sweatpants/Urn – Childish Gambino feat. Problem
directed by Hiro Murai

Self-congratulation meets extreme self-awareness in a riff on Being John Malkovich and a rip on the ego that fame brought. It’s too egotistical in the end, which is where Hiro Murai tags “Urn,” a soulful, dreamlike cry from under the burdens and expectations of black history.   -S.L. Fevre

23. 90s Music – Kimbra
directed by Justin Francis

I still don’t know how I feel about Kimbra’s deconstructionist pop by-way-of world music schtick. At times it’s transcendental, at other times it feels amateurish. Sometimes both in the very same song, like in “90s Music.” Either way, it’s growing on me, and I think she’s the half of that Gotye song from two years back that’s most worth paying attention to. The video has more to do with antiquated visual art movements than music videos. The result is equal parts “What am I watching?” and “I want to play it 5 times in a row.” Nearly always, the latter thought wins.   -Gabe Valdez

22. Busy Earnin’ – Jungle
directed by Oliver Pearch

Laid back dance choreography goes a long way for me, especially when the lead is this winning. Is it a perfectly executed dance piece or is it a crew having a good time on a rainy Sunday? It hits both marks very easily, which fits the song’s smooth, mid-tempo groove.   -Vanessa Tottle

21. Au Revoir – Chancellor Warhol
directed by Casey Culver

Kanye West opened a door for rappers to make careers of killing off their gangster god identities. Bugattis, bling, guns, and champagne were the measurements of success. Now, they’re the emperor’s new clothes, hiding shame like fig leaves. Both of Casey Culver’s videos on the list [William Wolf’s “King of Sorrow” featured yesterday -ed.] insist the more you boast, the worse off you are and the more you own, the less responsible you are.   -S.L. Fevre

20. No Rest for the Wicked – Lykke Li
directed by Tarik Saleh

Sweden is in a political fight for its future that mirrors Europe’s own. Its artists are fighting hard against rising racist and fascist leaders who demand closing borders and “acceptable” forms of segregation. If we learned one thing from how the Great Depression led to World War 2, it’s that tough times make ugly politicians rise up by creating scapegoats. Every country has a favorite race to blame, and the history of Sweden is interlocked closely with Nazi Germany’s. What Sweden, Europe, and the U.S. all fight over is whether we learned that one thing or history repeats itself. The role of performance today is to be the conscience that refuses repetition.   -Cleopatra Parnell

19. Crime – Real Estate
directed by Tom Scharpling

Andy Daly auctioning pieces of the video. Blood Lord extreme sports vampire gangs who stop chasing a girl to admire an old man’s photo album and get turned into a barbershop quartet. There are a lot of super serious messages in music videos. For once, it’s nice to stop and enjoy something silly.   -Cleopatra Parnell

18. Sword in Mouth, Fire Eyes – Norma Jean
directed by Eli Berg

Norma Jean are like the pop version of Tool, a sort of diet-version Porcupine Tree. They tell the classic tale of a shark following a man to his office and taking over his job. It’s hilarious, but there’s something more lurking underneath the video’s immediate comedy, a Kafka-esque metaphor for the fear that drives us at breakneck pace even for the most mundane job. If that starts getting to you too much, just replay the scene where the shark fixes the office copier.   -Gabe Valdez

17. Down on My Luck – Vic Mensa
directed by Ben Dickinson

Think Groundhog’s Day at a club, all boiled down to a three-minute song. It’s a daunting task, but it’s deftly handled through some wicked smart choreography and editing. There’s little more to say about this video; it’s a comedy that has to be experienced to be fully appreciated.   -Gabe Valdez

16. Black – The-Dream
directed by Daniel Sannwald

According to the Supreme Court, three of the four writers of this article don’t own their bodies in the United States of America. Two of the four have been asked by police if they’re here legally because of their name or appearance. Three of them have had thousands of dollars legally stolen by trusted employers. Two of us have had research legally stolen by employers. All four have multiple friends suffering PTSD. All four know someone who was shot in a foreign war. Three of us know someone who was shot on U.S. soil. The fourth knows someone who shot and killed their child while cleaning a loaded gun. All of us know someone who has lost their house. All four of us have taken a friend who’s suffered sexual assault to the hospital. Two of us have taken a friend who’s been rufied to the hospital. All of us grew up with the American dream, two in Texas, one in Illinois, one in Wisconsin. Heartland, straight up the middle. Some had rough childhoods, some had wholesome ones, but all of us believed that dream of equality and fairness growing up. Now we live on four ends of a country, in as different situations as you can imagine. Yet all of us are fucking pissed. And all of us bet you are, too.   -Vanessa Tottle

Watch this blog for the continuation of our rankings.
Here, you can check out #35-26.