You gon have another drink or you just gon babysit, Muthaf-ckers racist, so I switched Gold Bottles on to that spade sh-t, Loiterers should be arrested, I used to drink Kristal, Now I rock a tailored suit looking like a ownerĬant be scared to fail Search and perfectionīut don`t be mad at him when he`s on to the next oneį-ck a throwback jersey cos we on to the next one,Īnd n-ggas don`t be mad cos it`s all about progression, Used to rock a throwback, ballin on the corner Now a n-gga wrist match the status of my records Traded in the gold for the platinum rolex`s N-ggas make the same sh-t, me I make the blueprintĮvery year since i`ve bin on that next sh-t N-ggas stuck on stupid, I gotta keep it moving
N-ggas want my old sh-t, buy my old album Hov on that new shit n-ggas like how come Somebody bring me back some money please, I`m on to the next one On to the next one But what they do, Amanda captured it.Jay-z & Swizz Beatz - On To The Next One (Swizz Beats -Chorus) I didn't really want anything to happen in it - people don't do much. I told her I wanted it to be brutal and she nailed it. Jay-Z loved the edit, and only really wanted one thing changed. "When you get a big opportunity like this, then why not push it a bit And people were receptive. And it was part of it for me: I'm going to get this and I'm going to destroy it. But it's the fifth video off the album and the budget was relatively tiny. "We did get the car from Jaguar - I'm pretty new to the world of product placement. The fluid seeping into objects is like a whitewashing of things, before you can start again. The characters don't do much and, like the clown-type guy, have a pent-up brooding presence - again, the track is like that. The 4:3 format is a reaction to that as well. "We shot at Coyote Studios in LA for two days with two cameras. Did Jay-Z get that Well, he gave me the brief, and I showed him a lot of images, but didn't really get to explain my thinking. "You have to destroy one thing in order to create another.
So the video is really about being a funeral for clichéd rap imagery. Jay-Z has been more openminded, looking outside hip-hop for inspiration. "The song is about progress, about not getting stuck doing the same thing, and hip-hop can be oddly conservative, with conventions that are very rarely broken. The song sounds so oppressive and that's what I wanted - something dark, oppressive and brutal. The song has a harsh repetitive sample, the first time I heard it I thought it was like a song going backwards - like the ones that get interpreted as demonic messages. "It was the sound itself that got me into the dark stuff. I didn't realize that there have been all these stupid rumours of Jay-Z being in some occult sect. "The imagery is quite unusual, and people have read things into it. At this stage, I'm not interested in a conventional narrative or doing a straight performance video. I think that's a more interesting way of working. "I was very much into things that capture the music but don't exactly relate to each other.
Sam Brown on making the video for Jay-Z's On To The Next One It's his best for a long time - with a brilliant edit by Amanda James. If anything this is Sam making a point of putting some of the dyed-in-the-wool conventions of the hip-hop video aside, and moving on - his take on the theme of the song. And the video has been the subject of a huge amount of web conjecture, based around its apparently references to Freemasonry and the Illuminati. Packed with stunning imagery, and intriguing characters, it's essentially a series of seemingly disconnected portraits and setpieces. Jay-Z's fifth single from The Blueprint 3 brings Sam Brown back to promos - he's now usually occupied making ads - to make a compelling, bold and beautiful take on the hip-hop video.
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