
Clipse and Kendrick Lamar Release 'Chains & Whips' Music Video With Powerful Visuals
Clipsehas recently dropped the music video for 'Chains & Whips,' a fan-favorite off their long-awaited comeback albumLet God Sort 'Em Out. Featuring a standout verse fromKendrick Lamar, the track dives deep into themes of systemic oppression, generational trauma, and the complicated relationship between survival and material success.
The title itself is a play on words. On the surface, it nods to luxury — chains on necks, whips in garages. But behind the gloss, it's a direct reference to the violence of slavery, incarceration, and generational control. That tension sits at the heart of the track: how wealth and status are often worn like armor, even though they're forged from the very systems that once shackled you.
Directed byGabriel Moses, the video brings this message to life with moody, surreal visuals. From the very first frame — a woman clutching a guitar in silence — you feel the weight. It's not performance; it's tension. Her stillness feels louder than any verse, setting the emotional temperature for everything that follows.
One of the most powerful motifs throughout is the recurring presence of children. They're not placed in overtly adult-coded environments yet it poses an assumption, their expressions — watchful, reserved, cautious — say more than any backdrop could. They aren't playing or smiling for the camera; they're absorbing. The visual tone suggests how early the system begins to shape people — before they even understand it. Before they ever wear chains as fashion, they've already been handed invisible ones: silence, expectation, inherited weight.
Meanwhile, there are glimpses of everyday life — children playing, a man watching a lottery machine, adults moving through familiar routines — all quietly interrupted by discord. Showcasing that the system doesn't explode instead hums beneath it all, embedded in the fabric of the ordinary.
Kendrick doesn't appear in the video, but his presence lingers. His verse closes the track with a sharp rejection of superficial accolades. He name-drops Rakim and questions the culture's obsession with clout, fame, and virality. It's a pointed reminder that while everyone's chasing trends, the real stories and roots are being erased.
The final scene strips it all down. Two women stand by a porch, singing an a cappella version of their debut single 'Grindin'.' No beat. No effects. Just raw voices echoing the legacy of Clipse. It's a full-circle moment — a return to roots.
Check out the 'Chains & Whips' music video above.

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With Mayor Kirk (Neal McDonough) in attendance, Center founder Rabbi Mo Zaltzman (Mark Feuerstein) introduces the evening's principal honoree: Alan Rosner (Dermot Mulroney), whose vast solar energy farm is the area's biggest industry. He's also this community's biggest benefactor and uses his podium moment to announce a further gift that might give the Center (currently housed in a strip mall) a permanent home. But just then gunshots ring out, throwing the tent-full of high-ticket dinner patrons diving for cover. Amidst general mayhem, only one life is claimed, which raises the question of whether this was an act of indiscriminate antisemitic terrorism or a targeted assassination. Local law enforcement (notably police detectives played by Zach Villa and Ed Quinn) show no doubt on the matter. They promptly arrest 19-year-old Clay Gibbons (Jackson A. Dunn), whose car was seen speeding from the scene, and who'd previously spewed Holocaust-denying bigotry at community members. 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The single most on-the-nose sequence — though there are many — has an unrestrained Christopher Lloyd as a Holocaust survivor conveniently situated to lecture young Clay about the genocidal reality of his experience. 'Guns & Moses' is technically proficient, with solid contributions from cinematographer Ricardo Jacques Gale and editor Peter Marshall Smithy maintaining a brisk overall pace, as well as reasonable excitement during the few action setpieces. But those sequences are compromised to an extent by Feuerstein's amiable if tension-dispelling insistence on his character's shambling, humorous demeanor. And the climax gets a bit ridick, as it requires we believe an assembly of mostly rank amateurs might successfully overpower pitiless, heavily armed invading paramilitary types. Such contradictions don't make 'Moses' less enjoyable as a hybrid genre effort selling familiar tropes to an audience that rarely sees itself represented in violent thriller narratives. 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Alongside some like-minded tracks by Calexico and other bands, it provides a quasi-old school, rocked-up 'Western' flavor to proceedings before eventually heading toward more conventional thriller terrain. 'God & Moses' opens in limited release on July 18. Best of Variety The Best Albums of the Decade Solve the daily Crossword