Before sharing his story with the world and becoming one of the most important artists of our time, Frank Ocean was a high school graduate in New Orleans scouring for jobs to pay for studio time to record his potential projects. In August 2005, Hurricane Katrina wreaked havoc across the region, provoking Ocean’s move from New Orleans to Los Angeles, California. It was in California that Frank eventually found his opening into the music industry. Landing a songwriting deal, he began ghostwriting for many of the biggest artists we know today: Justin Bieber (“Bigger”, 2008) and Beyoncé (“I Miss You”, 2009). In 2009, he started working with Odd Future, specifically Tyler, the Creator - one of his best friends, who played a pivotal role in encouraging him to continue writing songs, but for himself. Through Odd Future, Frank was able to meet Producer, Tricky Stewart who eventually introduced him to an American Record Label: Def Jam Recordings. Though this deal was meant to serve as his platform for releasing music, out of frustration he released his first mixtape, nostalgia, ULTRA, for free download on Tumblr. Frank explained that he was frustrated with the label for not being supportive of his efforts after signing. Regardless of the heightened tension in Frank’s relationship with the label, this mixtape ignited the spark of his fame to follow. Frank’s pilot success with this mixtape allowed his standing to grow tremendously, eliciting feature requests from A-listers such as Jay-Z and Kanye West, but for the most part, Frank remained highly selective with his craft and unwaveringly loyal to Tyler and Odd Future. 

This origin story is only the tip of the elusive iceberg that is Frank Ocean. Since before the days of nostalgia, ULTRA, Frank has been selective with his public interactions. Once a ghostwriter for pop stars and then a secret weapon among Odd Future’s large roster, playing the background seemed to come naturally to him. However, the star within him proved too bright to contain. Still, since his rise in stature, rather than outwardly embracing the fame that was guaranteed, he chose instead to remain guarded with his art and protective of his image. Over time, this has allowed him to meticulously reveal himself on his own terms, using his art as a way to give insight into his identity. It was only when speculations about his sexuality began to circle through the hip-hop and pop community prior to the release of his debut studio album, channel ORANGE, that the once-guarded artist decided to become candid in a way he never previously attempted; on his Tumblr, through an open letter to his fans titled Thank You, Frank went on to reveal his bisexaulity:  

Credit: http://frankocean.tumblr.com/post/26473798723

I don’t think I’m exaggerating in the slightest when I say that this letter was a beautiful, poetic exemplification of love. In typical Frank fashion, it wasn’t an overt admission of anything, because there isn’t anything to admit. We are who we are, and according to Frank, that is “human beings spinning on blackness”. According to Frank we are a lot more alike than we are different, regardless of our race, cultures or sexual identity. He chose to focus on what makes us all similar as humans, and if he revealed or confirmed something about himself that wasn’t clear to you in the process, then so be it. His sexuality wasn’t the point of the letter. The letter was about empathy and love. The letter was about being human. In an era were child-suicide rates were increasingly linked to homophobia and transphobia, especially in black and latino communities, Frank used his story to humanize those who had been historically demonized. 

This letter birthed a chapter for Frank’s influence. When channel ORANGE arrived that following summer, these feelings of self-discovery through heartache and unrequited love reverberated all throughout the tracklist. The album itself was named after the summer detailed in his letter, the summer during which he first fell in love with another man. Frank dropping this album and his Thank You letter was powerful, valiant move. He cut through the lingering homophobia of the time and crafted a tale of perseverance and acceptance. This album allowed me, someone with completely different experiences, to appreciate his journey. He successfully detached himself from the increasingly materialistic world of the music industry and turned his art into statements that effectively captured the current state of the human condition.

There are two songs off of channel ORANGE that I believe are worth highlighting. The first is “Bad Religion”: 

Taxi driver Be my shrink for the hour Leave the meter running It's rush hour So take the streets if you wanna Just outrun the demons, could you He said "Allahu akbar", I told him don't curse me “Bo Bo, you need prayer,” I guess it couldn't hurt me If it brings me to my knees It's a bad religion This unrequited love To me it's nothing but a one-man cult And cyanide in my Styrofoam cup I can never make him love me Never make him love me Love It's a bad religion To be in love with someone Who could never love you I know Only bad religion Could have me feeling the way I do

This is a story of longing, of internal conflict and crippling self-doubt. With no one to turn to, Frank resigns to confessing his deepest, most closely guarded truths in the backseat of a taxi, and his thoughts betray the confidence that many of his fans may have prematurely branded him with. These confessional thoughts instead show him in his most fragile state, one in which he seems internalize years of homophobic rhetoric. The stigma that homosexaulity or sexual fluidity is a sin, is amoral, and requires prayer and absolution is so deeply ingrained in society that Frank doesn’t even flinch when the taxi driver basically tells him to pray away his desires. Instead, he chooses grasp onto the suggestion, wondering if maybe he should find a way to detach himself from the unrequited love that has brought him so much pain - whether through religion or drugs. This song is a heart-wrenching discussion of the internal struggle felt by Frank throughout the journey detailed in his letter. Frank’s lyrics expertly navigate self-hate and heartbreak, and his execution features a stunning vocal performance that evokes a deep, soulful pain that feels universally applicable to all humans. 

The second song of importance would be “Forrest Gump”: 

I wanna see your pom poms from the stands Come on, come on My fingertips, and my lips, they burn From the cigarettes Forrest Gump you run my mind boy Running on my mind boy Forrest Gump I know you Forrest I know you wouldn't hurt a beetle But you're so buff, and so strong I'm nervous Forrest Forrest Gump My fingertips, and my lips, they burn From the cigarettes Forrest Gump you run my mind boy Running on my mind boy Forrest Gump I saw ya game, Forrest I was screamin' run 44 But you kept runnin' past the end zone Oh where'd you go Forrest Forrest Gump

If “Bad Religion” - and “Thinkin’ Bout You” before it - were subtle allusions to his bisexuality, “Forrest Gump”, the penultimate track on channel ORANGE, would be the unabashed coming out party. In this song, Frank beautifully covers the timeless love story from the film, Forrest Gump, but through Jenny’s perspective - one that he clearly relates to on a visceral level. In the movie, Jenny and Forrest don’t end up together - but neither did Frank and his love at 19 years of age. In a very literal sense, Forrest Gump is used as a metaphor for a man running away from Frank - referring to the different paths taken by him and the man he fell in love - and this story is another example of unrequited love. But it’s uptempo nature and Frank’s equally light singing paints it in a much different light than “Bad Religion”. Here, there is no self-doubt and he seems to believe the experience of the fling was worth it. It’s the bright result of having grappeld with his emotions throughout the album’s more dark spots. This is essentially Frank fully submerging into his new lifestyle that he explains in his letter as being “a free man”. Similar to his letter, Frank is grateful for the man he fell in love with, regardless of the outcome. 

Despite this album being such a bold statement on his part, highlighting him as an artist that will stand the test of time, I’ve always felt as if its slow and melancholic vibes represent a shyer, younger Frank Ocean. Since releasing his letter and reinventing himself as a free man, the outward projection of his confidence has considerably escalated. Four years after channel ORANGE the fans were finally given a second and third album, simultaneously: Endless and Blonde. I personally cherished these albums, not expecting any new music for yet another few years, but just as I was getting used to the idea of no new Frank music, he released a single on his Beats 1 radio show, Blonded Radio: Chanel. Chanel was released in March 2017, and I can’t think of any way to describe the start of the song, besides epic:

My guy pretty like a girl And he got fight stories to tell I see both sides like Chanel

See on both sides like Chanel

 The Undefeated’s online music review of this song describes these first few lyrics in the following manner: “The boastful first few bars of Ocean’s new song might be the coldest, gayest, and most securely masculine flex in the history of rap. Elegant and mellow, the song’s lyrics read as a deliberate ode to duality and non-heteronormative binaries - an ambition, that since the death of Prince Rogers Nelson, is sorely missed in black music”. Whether I’ve convinced you or not, I truly believe Frank Ocean is an icon. He has made tremendous strides through his music and personal life and his consistently made choices that have positively influenced millions. As a visionary and genius, he’s stood out not only as a singer, but as a writer, a visual artist, and an activist.