J Cole Put A Finger In The Sky Lyrics
J Cole Put A Finger In The Sky Lyrics – On Saturday (December 25), Human Servant uploaded a new track with the Dreamwell Records president. The interview was at least two years in the making when the odd questioner was about to leave after Cole famously turned down Nardover at the 2019 Day N Vegas festival. Nardva made up for lost time with a nearly hour-long conversation with the North Carolina MC that left Cole speechless at times.
During this period, Nardover took over Cole’s duties at Windmark Recording Studios in Santa Monica, California. For those unfamiliar with Nardover’s interviewing style, he has a CIA-level talent for probing past subjects and making them forget or marvel at moments that the artist Nardover can capture. She was capable.
J Cole Put A Finger In The Sky Lyrics
J. In this interview with Cole, Nardvar first blew the rapper’s mind by mentioning that Cole recorded part of the song in the studio he was in.
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Which took place seven years before the date of interview. “It’s crazy, I just realized it,” Cole said. “It’s on a god-type synchronous level. It’s crazy.”
As always, Nardvar brings gifts with his questions. Cole graces the rare 45-year-old with some songs that Cole has sampled in the past. He also named Cole’s first rap, Therapist, and explained its origins. For nearly an hour, Nardvar delves into Cole’s history, revealing never-before-seen insights into the multi-platinum rapper’s achievements, teenage days and musical flair. Wesley Joseph is the whole package. The songwriter, producer, and director has earned him attention to detail and a constant buzz in the London music scene, but he’s not one to get caught up in the moment, because it’s always the next step. When I talk to Wesley, he’s tired. He tells me that being in the middle of a project involves grueling hours, many whiteboards on which he scribbles ideas at 4am. “It’s part of the process,” he shrugged.
With one album under his belt, 2021’s Ultramarine, the Walsall native is at that point in every young artist’s career where they either graduate to the next level or don’t, and he’s determined to be number one. Inspired by the likes of Donald Glover, Kendrick Lamar and Frank Ocean, Wesley doesn’t want to be anonymous, so he chronicles his movements with unflinching precision. “I’ve studied all this nonsense,” he told me, “I see everybody and know how perception works.” “There’s going to be so many boxes that you can put me through that you can’t say there really isn’t anything. It wholeheartedly owns every step of the way to get you to where you are. You can’t keep it.”
Wesley grew up in the West Midlands and was a founding member of the hip hop collective Ozzy Horse, which also featured Jorja Smith. Then, in 2016, he moved to London to study cinema, which deeply influenced his musical style. His latest release “Cold Summer” was as much about the track as the accompanying music video. In this, Wesley once again demonstrates his ability to weave an emotional cinematic universe filled with unexpected reference points and deep thematic undertones.
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Here, we ask the musician about his music video, his 360-degree practice and why he doesn’t want to be credited with rapper…
It feels like time. To be honest, I wanted to introduce this earlier, but I’m glad we do everything with a purpose. I’m interested in letting people see the next steps and stages of my potential. I think the first campaign fueled a lot of faith and we had to wine the water in a lot of situations, during this campaign, I think I grew a lot and definitely have this artillery to do what I want to do, the first example of “Cool Summer”. I’m not just talking about an idea and being like ‘someone trust me’. No, I did it once, twice, three times and people finally realized the potential.
Not only are you a musician, you also studied film. The two seem to come together for you and share a kind of symbiotic relationship.
Yes, in my head, they are all the same. I couldn’t make music without movies and I couldn’t make movies without music. I know they are technically different things, but I feel my strength as an artist is that they are expressed together. So yes, when I sing, I think about color, and when I make films, I think about melody. In my head, there’s a big mess of recycling with the same faces. This is why I hate when people call me a rapper, because I write, compose, produce, and probably sing.
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Everything seems well thought out. Are you fully aware of creating a character or identity in the music industry?
Yes, I am fully aware of what we do and how I want it to look. I am aware of what I want to represent in pop culture, and I know that the things I value in art must be embodied in my work. Every campaign is trying to execute what we have and I think in this project, everything is very cinematic and dynamic and bold and unnecessary. He knows no fear. This time, I don’t want to hear a song that sounds like someone else’s beat, and I don’t want to hear a beat that sounds like someone else’s beat. I want everything to have a personality and somehow feel timeless.
You said you didn’t want to be a rapper – that’s how you tend to categorize musicians, right? Which type of sticker do you think is right for you?
Maybe just an artist or a director. Artist management. I hate the stigma behind being a rapper. I appreciate and love rap, but it doesn’t make sense to say the first of these complex skills.
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It definitely has a racing element to it. You see a black guy singing, he only says 25% of the time, but because he’s black he’s immediately called a ‘rapper’.
Yes, 100%. I think people like to put things in boxes, but it’s really harmful when it depends on what you look like or what you look like. On a superficial level, you’re put in a box, which means that all the people who like your music aren’t listening to it because it’s only pushed to a certain demographic. It’s like if I put on a hard or scandalous rap playlist, all these people will hear songs like “Pain” or “Bloom” and be like, what is this? There are a lot of black artists out there who do folk music or pop or whatever, and they just throw in the new or urban spirit. “Cold Summer” is 100 percent rap. Well well you can call me a rapper for now, but see what happens next. This is a chameleon trick. There are many chests you can put me at the end of it, in general you can’t say anything. I study this shit, I see everybody, I see how perception works. It is in every step of the heart that they cannot stay where they put you.
You love a big, convenient and big-budget music video. In the 90s and early 2000s it wasn’t so focused on. Why is making sick music videos so important?
Our budgets weren’t always bigger, but the level of original thought and care was the same. Now with the benefits, where before there was flexibility, we were crazy to do crazy things without a lot of money. I think the way I look at music videos is that every time we make them, it feels like an eternity. It’s like watching a David Bowie video or a Michael Jackson thriller. When that person leaves, the child will see it and be affected by it. Why don’t you keep it all? He is literally bigger than you. It’s a very powerful thing to do while you’re here, depending on your sign as a person. The moment I realized, well, every music video is going to be famous because it immortalizes the idea of film art in a very real and beautiful way.
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Yes, I want it to stay the same. I understand, this is the economic nature of the beast. With more artist signings than ever, like this, let’s flood the world with content, but to me, music videos aren’t stupid. Content is such a hollow word. The way I see them will last forever. I came to this realization