Taller In Another Dimension
Exploring the depths of Ocean’s lyricism
By June Glenney, Contributing Writer
Frank Ocean is nothing if not a man of mystery. His elusive social media presence and rare music releases leave fans constantly searching for more of him. And yet, if you listen closely enough, beyond his music is another layer of mystery and meaning. Accompanied by his complex musical sound, Ocean’s lyrics explore topics of sexuality, childhood, drug use, love and heartbreak. Below are a few of his most notable songs and the layers beyond their face value.
“Nikes”
Through the first track of his album “Blonde,” Ocean paints a picture of material pleasure and indulgence. References to money, drugs and luxury create a false sense of contentment, which is later chipped away to reveal a sort of emptiness underneath. Towards the beginning of the song, Ocean sings:
“That my little cousin, he got a little trade
His girl keep the scales, a little mermaid
We out by the pool, some little mermaids”
Through these lyrics we can imagine a fantasy-like scene by the pool, sunlight shattering on the water as Ocean’s cousin and his cousin’s girlfriend bask around, her taking the form of a mermaid. Ocean’s use of the word “scale” takes on a double meaning. On the surface level, he depicts the scales of a mermaid tail, but he also hints at something darker — his cousin's drug distribution as well as the girl who "keeps the scales," or weighs cocaine, which is often referred to as a "fish scale" due to its shiny white appearance (Genius, 2022).
Ocean emphasizes the risk the girl takes for love by calling her a “little mermaid.” In Disney’s “The Little Mermaid,” Ariel makes a dangerous deal, trading her voice for legs in order to become human and fall in love, much like the ones the girl makes working for her boyfriend (Genius, 2022). In both cases, a young, seemingly naïve girl makes a great sacrifice to be with the one she loves. This holds both a beautiful and sad sentiment. As “Nikes” goes on, Ocean seems to take her perspective.
“He don’t care for me, but he cares for me
And that’s good enough
We don’t talk much or nothin’
But when we talkin’ ‘bout somethin’
We have a good discussion”
These lyrics hint at the girl’s dissatisfaction with her relationship, as she feels that he does not truly care for her or try to connect in a meaningful way. She attempts to rationalize these concerns, however, by claiming that what they have is good enough. The song continues into a bridge in which Ocean’s voice becomes higher. On “Nikes,” along with many of his songs on “Blonde,” he utilizes a pitch change to make his voice sound younger, suggestive of a time in the past when these feelings and experiences were alive. In one of the few interviews he has given, Ocean tells the New York Times, “That was my version of collage or bricolage. 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” (Caramanica, 2016).
“I may be younger, but I’ll look after you
We’re not in love, but I’ll make love to you
When you’re not here, I’ll save some for you
I’m not him, but I’ll mean something to you”
These lyrics can be interpreted as the girl’s thoughts once again, or perhaps we can assume that now this is Ocean voicing his own experiences. These words convey a love in which the other person isn’t as invested as the speaker, who feels as though they are a sort of placeholder to the other. Yet, they are willing to settle and accept this type of love due to their perceived need and desire for the other.
“Nikes” tells a melancholy story featuring many of the struggles of adolescent love — the fleeting romance that feels like it’s forever and taking risks for those we love, even if they don’t deserve the sacrifices we make. Even the title of the song, suggestive of the brand Nike, hints at sacrifice by commenting on what we tend to give up for pleasure, both interpersonal and material.
“Pyramids”
“Pyramids” sets an exotic, Egyptian scene through references to cheetahs, pharaohs, serpents and jewels. The song introduces its main character, Cleopatra, legendary Queen of Egypt. The historical power and elegance that she holds are juxtaposed with her many affairs with powerful men and her ultimate demise.
“I watch you fix your hair
Then put your panties on in the mirror, Cleopatra
Then your lipstick, Cleopatra
Then your six-inch heels, catch her
She’s headed to the pyramid
She’s working at the pyramid tonight”
Cleopatra is introduced as a prostitute, leaving to go to work at “the pyramid.” Ocean creates an image of a club within a pyramid, suggesting a majestic, historical wonder with something far more scandalous inside, much like we see Cleopatra portrayed. Later, Ocean sings “but your love ain’t free no more,” implying that at one point, he was more to her than a customer.
Now, he feels as though he has lost her to the attention of others. This creates a parallel between modern-day and historical Cleopatra, who had her own share of affairs in moving onto new and more powerful men.
“Remove her, send the cheetahs to her tomb
Our war is over, our queen has met her doom
No more, she lives no more, serpent in her room
No more, he has killed Cleopatra, Cleopatra”
“The jewel of Africa, jewel
What good is a jewel that ain’t still precious”
Through these lyrics, a sense of ending is suggested — the ending of Cleopatra's purity and power, along with her life. It is widely believed that Cleopatra died by suicide, supposedly enticing an asp, a poisonous Egyptian snake, to bite and kill her (A&E Television Networks, 2010). The serpent Ocean sings of can also be thought of as a male sex organ, a means by which Cleopatra “dies” in the eyes of the narrator, who feels she has betrayed him with another man (Genius, 2020). “The jewel of Africa,” as we can imagine, refers to Cleopatra, who is no longer regarded as precious by the narrator after her affiliation with other men.
Through the song “Pyramids,” Ocean strikingly mirrors the history and the present. “Pyramids” illustrates how tragically women with power, whether it be sexual or political, are often completely reduced to what they mean to men.
“Chanel”
Ocean’s single “Chanel” explores the beauty of duality. The title pays homage to the brand Chanel, whose logo features two intertwined C’s facing in opposite directions. Much like these C’s, Ocean’s sexuality goes both ways, as he likes both men and women. The song begins as he sings:
“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”
In calling his man pretty like a girl, Ocean comments on the duality of the single person. This man might have delicate feminine features, but still maintains some of his stereotypical masculinity through fighting, something that has long been considered manly and an exhibit of strength. “Seeing” both sides also suggests that Ocean acknowledges his romantic attention towards, and “sees” as in goes out with, both men and women (Genius, 2020).
“White Ferrari”
Ocean's "White Ferrari" tells a story of a love that's been outgrown. The song starts out in a silent car, as the two people driving have run out of things to say. They reach their destination, “Central,” possibly as in Grand Central Station, and say their goodbye (Genius, 2022). Ocean paints this love as something pure and innocent, yet foolish. He sings "sweet sixteen, how was I supposed to know anything." We can assume that this might be a first love, something special shared between two young, naïve people.
"I let you out at Central
I didn't care to state the plain
Kept my mouth closed
We're both so familiar"
There seems to be something unspoken between these two. While neither wants to acknowledge it, they are no longer moving in the same direction. Despite the growing distance between the two, Ocean will always love this other person. He sings “I care for you still and I will forever. That was my part of the deal, honest. We got so familiar.” The song continues to the final verse, where Ocean finally breaks the silence with the uncomfortable truth.
“I'm sure we're taller in another dimension
You say we're small and not worth the mention
You're tired of movin', your body's achin'
We could vacay, there's places to go
Clearly, this isn't all that there is
Can't take what's been given (No way)
But we're so okay here, we're doing fine
Primal and naked
You dream of walls that hold us in prison
It's just a skull, least that's what they call it
And we're free to roam”
Ocean, whose perspective we hear through these lyrics, yearns for something more than his partner, who is "tired of moving" and content with the walls of the "prison" around them. This other person is satisfied with the way that things have always been and the expectations placed upon their relationship, which is no longer making Ocean happy.
Young love often ends like this, as at this age life changes so rapidly that two people tend to grow into shapes that no longer fit with each other. Ocean has become tired of settling for what is comfortable and is ready to move past the easy and secure. He knows that he wants more and that in some other dimension, he will have the space to grow into a more developed, “taller” version of himself.
These interpretations are in no way a definitive meaning of these songs, and may not be at all what Frank Ocean intended by them. Instead, this is merely one way to choose to understand them. Ocean’s brilliant lyricism and composition also ensure that there is far more to these songs than I have explored. One song can mean a million different things to a million different people, which is by far one of the most beautiful things about music.
Sources:
A&E Television Networks. (2010, February 9). Cleopatra dies by suicide. History.com.
Caramanica, J. (2016, November 16). Frank Ocean is finally free, mystery intact. The New York Times.
Cuchna, C. (n.d.). Dissect. Podcast.
Frank Ocean – Chanel. Genius. (n.d.).
Frank Ocean – Nikes. Genius. (n.d.).
Frank Ocean – Pyramids. Genius. (n.d.).
Frank Ocean – White Ferrari. Genius. (n.d.).