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People are just afraid of things too much. Afraid of things that don't necessarily merit fear.
— Frank Ocean
singer, songwriter, rapper, record producer, photographer, visual artist, composer, keyboardist
🔗 Read on Wikipedia1987
People are just afraid of things too much. Afraid of things that don't necessarily merit fear.
Boys do cry, but I don't think I shed a tear for a good chunk of my teenage years.
In art, at a certain level, there is no 'better than.' It's just about trying to operate for yourself on the most supreme level, artistically, that you can and hoping that people get it. Trusting that, just because of the way people are built and how interconnected we are, greatness will translate and symmetry will be recognised.
You just do what you can and you have as much fun as possible.
I was a thug.
People are just afraid of things too much. Afraid of things that don't necessarily merit fear.
The Internet is just another experiment showing us more sides of us.
Boys do cry, but I don't think I shed a tear for a good chunk of my teenage years.
Art's everything we hope life would be, a lot of times.
I'm in this business to be creative - I'll even diminish it and say to be a content provider.
I've always wanted to make a career in the arts, and I think that my only hope at doing that is to make it more about the work.
I don't ever want to be caught up in a system of thinking I can do one thing 'cos that's just... that's just telling yourself a lie.
I have no delusions about my likability in every scenario. I know that in order to get things done the way you want them, oftentimes your position will be unpopular.
I don't fear anybody... at all.
The work is the work. The work is not me.
Sometimes I'm fascinated with how famous my work could be while I'm not so famous.
Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story, but music sometimes, just music itself, can turn into more of a maths problem. I guess everything in life is a math problem, but it can be more about an empirical route to getting the symmetry that you want, and this vibe, sonically.
A friend of mine jokes that I have a painstaking royalty complex. Like maybe I was a duke in a past life.
I don't have any secrets I need kept any more.
I grew up in New Orleans. I had just moved into my dorm at the University of New Orleans, and I was doing laundry, and my mom called me, like, 'We've got to evacuate. There's a hurricane's coming.'
I'm big on what's in good taste.
Obviously, the cinematography of films is art, just as a still shot can be art. If I'm watching a Wes Anderson movie, the colour palettes alone, and the way they're painted, could be art. With music, you're a little bit limited, of course, because it's only audio.
You gotta make sure the listener is listening to you, so if you put it into a song, often times, if the song is striking enough, then you can really deliver the story most effectively while keeping the ear of the listener the whole time.
I think we all change each other's paths. I don't know which law idea that is in physics, but I don't think any of us can live without affecting one another.
Of course awards matter.
Sometimes, I want to talk on a song and be angry, because I am angry. Then there's always a part of me that remembers that this record lives past my being angry, and so do I really want to be angry about that? Is that feeling going to have longevity?
I enjoy being involved in making the artwork for albums and stupid stuff like that.
I hope not to define myself by suffering.
I think we all change each other's paths. I don't know which law idea that is in physics, but I don't think any of us can live without affecting one another.
How we experience memory sometimes, it's not linear. We're not telling the stories to ourselves. We know the story; we're just seeing it in flashes overlaid.
I don't intend to stop making music.
In art, at a certain level, there is no 'better than.' It's just about trying to operate for yourself on the most supreme level, artistically, that you can and hoping that people get it. Trusting that, just because of the way people are built and how interconnected we are, greatness will translate and symmetry will be recognised.
I'm not a centerfold.
It started to weigh on me that I was responsible for the moves that had made me successful, but I wasn't reaping the lion's share of the profits, and that was problematic for me.
I don't fear anybody... at all.
I believe that I'm one of the best in the world at what I do, and that's all I've ever wanted to be.
It's cool to be recognised by your peers.
I had writer's block for almost a year.
I'm extremely compassionate, loving, all of those warm fuzzy things, but the outer shell doesn't project that all the time.
I guess I'm just inspired to tell stories.
I might just write a novel next. I don't know!
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
I wrote 'Channel Orange' in two weeks. The end product wasn't always that gritty, real-life depiction of the real struggle that happened.
When I was growing up, there was nobody in my family - not even my mother - who I could look to and be like, 'I know you've never said anything homophobic.' So, you know, you worry about people in the business who you've heard talk that way. Some of my heroes coming up talk recklessly like that.
We all know we have a finite period of time. I just feel if I'm going to be alive, I want to be challenged - to be as immortal as possible. The path to that isn't an easy way, but it's a rewarding way.
I worked my face off.
I feel like I was writing as I was learning to talk. Writing was always a go-to form of communication. And I knew I could sing from being in tune with the radio.
I enjoy singing my songs in front of people.
I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know.
I can't usually stomach a project after I finish it, but for those days and weeks and months that it's new to me, I do listen to it, and it might change over time, but it's about function.
There's just some magic in truth and honesty and openness.
You can't think; you just gotta do things.
This has always been my life and no one else's, and that's how it's always been since the day I came in it.
As long as your intentions are solid and about growth and progression and being productive and not being idle, then you're doing good in my book.
I'm about being the best.
I like the anonymity that directors can have about their films.
I play piano every day. I enjoy that.
My music definitely comes from a place of experience. Everything connects to a truth.
The Internet made fame wack and anonymity cool.
It's about the stories. If I write 14 stories that I love, then the next step is to get the environment of music around it to best envelop the story, and all kinds of sonic goodness - sonic goodies.
Here's what I think about music and journalism: The most important thing is to just press play.
I won't touch on risky, because that's subjective. People are just afraid of things too much. Afraid of things that don't necessarily merit fear.
When you write a song like 'Forrest Gump,' the subject can't be androgynous. It requires an unnecessary amount of effort.
It's hard to articulate how I think about myself as a public figure.
My music definitely comes from a place of experience. Everything connects to a truth.
The idea of recognising your strengths and using them in as versatile a way as you can is cool to me.
It's not essential for me to have a big debut week; it's not essential for me to have big radio records.
I've written some great things. That's a gift, but there's consequences. Yeah, you get this great work, but you suffer. You really, really suffer.
I want to thank The Beatles for almost single-handedly getting me out of writer's block.
I respect Drake not only as a creative person but as a business mind as well. I think Drake's important.
We were poor. But my mom never accepted that. She worked hard to become a residential contractor - got her master's with honors at the University of New Orleans. I used to go to every class with her. Her father was my paternal figure.
When I did have some success, it further emboldens you to be like, 'No, I'm just going to write what I feel I should write.'
I respect Drake not only as a creative person but as a business mind as well. I think Drake's important.
Obviously, the cinematography of films is art, just as a still shot can be art. If I'm watching a Wes Anderson movie, the colour palettes alone, and the way they're painted, could be art. With music, you're a little bit limited, of course, because it's only audio.
As a writer, as a creator, I'm giving you my experiences. But just take what I give you. You ain't got to pry beyond that.
I feel like I was writing as I was learning to talk. Writing was always a go-to form of communication. And I knew I could sing from being in tune with the radio.
I hope not to define myself by suffering.
My grandfather was smart and had a whole lot of pride. He didn't speak a terrible amount, but you could tell there was a ton on his mind - like a quiet acceptance of how life had turned out.
I never think about myself as an artist working in this time. I think about it in macro.
I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know. And writing Langston Hughes replica poems became me wanting to write like Stevie Wonder.
Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.
As a lifestyle you always being the focal point is innately unhealthy.
The way I approach this thing, when I started to get my head screwed on straight and really trying to make something of myself as an artist, when I was 19 or 20, it became more about function for me. Like, what is this song doing to you? What is the function of this type of artform? What is it doing?
I grew up in New Orleans. I had just moved into my dorm at the University of New Orleans, and I was doing laundry, and my mom called me, like, 'We've got to evacuate. There's a hurricane's coming.'
I'm in this business to be creative - I'll even diminish it and say to be a content provider.
I make pop culture.
Super-envious of the fact that Daft Punk can wear robot helmets and be one of the most famous bands in the world, while also understanding that will never be my situation.
When I was growing up, there was nobody in my family - not even my mother - who I could look to and be like, 'I know you've never said anything homophobic.' So, you know, you worry about people in the business who you've heard talk that way. Some of my heroes coming up talk recklessly like that.
I enjoy singing my songs in front of people. I enjoy being involved in making the artwork for albums and stupid stuff like that.
I can operate in half-a-song format.
Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story.
I've gotten used to being Frank Ocean.
It's more interesting for me to figure out how to be superior in areas where I'm naive, where I'm a novice.
The first four and a half years was me in the studio every day, writing songs for other people. I had jobs, too - eleven jobs. I worked at Kinko's, Fatburger, Subway - I was a sandwich artist - and I was a claims processor at Allstate Insurance.
I need to know how many records I've sold, how many album equivalents from streaming, which territories are playing my music more than others, because it helps me in conversations about where we're gonna be playing shows or where I might open a retail location, like a pop-up store or something.
In art, at a certain level, there is no 'better than.' It's just about trying to operate for yourself on the most supreme level, artistically, that you can and hoping that people get it.
Because I'm not in a record deal, I don't have to operate in an album format.
All in all, I just don't trust journalists - and I don't think it's a good practice for me to trust journalists.
As long as your intentions are solid and about growth and progression and being productive and not being idle, then you're doing good in my book.
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
We were poor. But my mom never accepted that. She worked hard to become a residential contractor - got her master's with honors at the University of New Orleans. I used to go to every class with her. Her father was my paternal figure.
I believe that I'm one of the best in the world at what I do, and that's all I've ever wanted to be.
Sometimes I'm fascinated with how famous my work could be while I'm not so famous.
We were poor. But my mom never accepted that. She worked hard to become a residential contractor - got her master's with honors at the University of New Orleans. I used to go to every class with her. Her father was my paternal figure.
How we experience memory sometimes, it's not linear. We're not telling the stories to ourselves. We know the story; we're just seeing it in flashes overlaid.
I grew up in New Orleans. I had just moved into my dorm at the University of New Orleans, and I was doing laundry, and my mom called me, like, 'We've got to evacuate. There's a hurricane's coming.'
Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.
I'm about being the best.
Obviously, the cinematography of films is art, just as a still shot can be art. If I'm watching a Wes Anderson movie, the colour palettes alone, and the way they're painted, could be art. With music, you're a little bit limited, of course, because it's only audio.
When I was growing up, there was nobody in my family - not even my mother - who I could look to and be like, 'I know you've never said anything homophobic.' So, you know, you worry about people in the business who you've heard talk that way. Some of my heroes coming up talk recklessly like that.
We were poor. But my mom never accepted that. She worked hard to become a residential contractor - got her master's with honors at the University of New Orleans. I used to go to every class with her. Her father was my paternal figure.
Art's everything we hope life would be, a lot of times.
Art's everything we hope life would be, a lot of times.
Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.
