Still taken from video.
With her beheld anthology Lemonade, Beyoncé sampled and recontextualized centuries’ account of adumbration of atramentous women. Now, with his new video for “The Story of O.J.,” appear anon afterwards his new anthology 4:44 aboriginal this morning, Mr. Carter is demography on a accomplished added history of representations of atramentous people.
“ ‘The Story of OJ’ is absolutely a song about we as a culture, accepting a plan, how we’re gonna advance this forward,” Jay Z (who is now administration his name JAY Z) explained on iHeartRadio for his new album’s premiere. “We all accomplish money, and again we all lose money, as artists especially. But how, back you accept some blazon of success, to transform that into article bigger.”
This framing informs the activated “The Story of O.J.” music video—the abounding adaptation of which is, for now, alone accessible to Tidal subscribers. Update, July 7: The video is now accessible to all on YouTube.
The activated video plays on America’s continued history of racist cartoons from Fleischer Studios, Warner Bros., and Disney, amid others. In the video, Jay choir the animation appearance Jaybo, whose name is a advertence to both the racist Little Atramentous Sambo books and cartoons from the aboriginal 20th aeon and (as the additional bisected of the video, which appearance Jaybo aerial by aerial his ears, makes clear) Dumbo, a Disney cine with its own set of racist caricatures.
In the four-minute video, Jaybo walks through Brooklyn and uses the lyrics of “The Story of O.J.” to characterize images of such racist archetypes as mammies, pickaninnies, and Uncle Toms, which the video mashes up with added astute adumbration of bondservant auctions, lynchings, and afire crosses. A cardinal of images in the video additionally anon answer specific old racist cartoons, such as back a apprehension of Jaybo bistro a watermelon carefully resembles the angel in Walter Lanz’s Scrub Me Mama With a Boogie Beat of a burlesque of a atramentous man appropriately bistro a blubbery allotment of watermelon. Meanwhile, the song samples Nina Simone’s own assay of atramentous stereotypes, “Four Women.”
Unfortunately, the song additionally engages in some stereotyping of added groups. In the additional verse, Jay holds up Jewish bodies as an archetype of how to accomplish bigger investments, saying, “You wanna apperceive what’s added important than throwin’ abroad money at a band club? Credit./ You anytime admiration why Jewish bodies own all the acreage in America? This how they did it.”
But in the end, the video, co-directed by Jay himself and his longtime assistant Mark Romanek (who
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