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All cars are drag. They’re a apparel we put on to arresting the apple how we appetite to be perceived, a blind of invisibility, a winking (or sometimes not so winking) annotation on identity. Frank Ocean is an artisan who seems to intrinsically understand this. As a longtime citizen of car-centric Los Angeles, a contempo citizen of automobile-averse London, and an aboveboard anomalous songwriter with a allowance for claimed metaphor, Ocean recognizes the agency in which cars act as autograph in songwriting and life.

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“How abundant of my activity has happened central of a car?” Ocean asks in an article he wrote for the book-length magazine Boys Don’t Cry appear accordingly with the absolution of his new album Blonde. In the essay, Ocean writes about cars accompanying alarming claustrophobia and liberation: a cartage trap, as able-bodied as a agency for escape and escapades. He angle cars as signposts in his life, and as the cartage that affix and bisect these periods. And he examines the automobile’s abysmal allegorical richness. “Raf Simons told me it was cliché, my accomplished car obsession. Maybe it links to a abysmal hidden beeline boy fantasy,” Ocean says. “Consciously, though, I don’t appetite beeline -- a little angled is good.”

Frank Ocean's 'Blonde' Proves Why Artists Shouldn't Be Rushed

Ocean prefers the aberrant aisle about as abundant as he loves to about-face gears. Aloof aback you anticipate you accept his intent, he’ll cull the hand brake and drift.

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Blonde is abounding of songs about the baggy fourth dimension, time, and all address of cars are acclimated to backpack their agreeable weight. In “Futura Free,” Ocean confronts success, attractive aback on his accomplished earning minimum wage, and out to his million dollar-making present. He recalls a acclimated Sedan he collection afore his accepted accompany alike knew him ("Remember aback I had that Lexus? No/Our accord don't go aback that far") afore boasting about active a seven-figure supercar ("Bugatti larboard some amplitude marks on that freeway"). Ocean recognizes that affective advanced is sometimes affective up, but he wonders what is larboard behind, and how quickly. (When asked for an official response, a rep for Bugatti said, “We don’t animadversion on adjustment in movies, TV, songs, etc.")

Ocean additionally uses cars to adjure the circuitous accumulation of character over time. In a able callback to his adolescence, he recalls benumbed about in his family’s car during his adolescence in New Orleans. ("1998 my ancestors had that Acura, oh/The Legend/Kept at atomic six discs in the changer.") Yet this allusion to an anachronistic medium, the bunched disc, instead of accentuating its limitations, showcases its adeptness to accommodate a ample ambit of accessible identities. No bifold A/B abandon here -- at least six discs.

Frank Ocean's 'Blonde': 10 MVPs Who Contributed to the Album

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Meriting its own band is the car’s archetypal name, The Legend, which seems to simultaneously reference Ocean’s adolescence anxious for celebrity, and his accepted ache for belief -- a adored fantasy of the past. (He’s not alone. Ludacris loves his old Legend so much, he had it adequate and featured on the awning of his best contempo album, 2015's Ludaversal. Spokespeople for Acura would not animadversion on this call out.)

Ocean’s homesickness is so thick, it was the appellation of his aboriginal absolute abandoned effort, Nostalgia, Ultra, a almanac that aloof happened to affection a 1980s BMW M3 on the cover. BMWs and contemplative anamnesis abide to comedy a key role on Blonde, in accurate on the song "Ivy," where Ocean sings about his past, a time that seems to conjure an insular, inaccessible, yet exhilarant abnegation for him. "Safe in my rental like an armored barter aback then/We didn't accord a fuck aback then," he offers. "I ain't a kid no more/We'll never be those kids again/We'd drive to Syd's, had the X6 aback then."

In this song, the BMW X6, a hunchbacked and hunkered-down SUV, is fortified. But it’s not aloof a agency of protection, it’s additionally a accretion -- physical affirmation of how the adolescent disciplinarian wants to be perceived. The axiological attempt of adolescence is to booty one’s alien signifiers of character and internalize them. But sometimes internalizing agency swallowing, hard, befitting things hidden deep. (A BMW agent said, “It’s abundant to see artists and longtime BMW enthusiasts such as Frank Ocean administration their affection for our brand.”)

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Frank Ocean Drops New Anthology 'Blonde,' Gives Out 'Boys Don't Cry' Magazine at Pop-Up Shops

Ocean sings about this affectionate of activated repression on “White Ferrari,” one of the album's best affective ballads. A song about love, connection, and the brittle frisson of the unspoken, the clue unfolds via a drive in a car that is accompanying brief and overt: a white Ferrari. (Ferrari didn’t acknowledgment requests for comment.) Ocean sings, "Bad luck to allocution on these rides/Mind on the road/Your aggrandized eyes watch the clouds float/White Ferrari/Had a acceptable time." Tangled in actuality is a band about active blundering -- 16: how was I declared to apperceive annihilation --before the song allotment to its beefing brainwork on silence, or silencing: "I didn’t affliction to accompaniment the plain/Kept my aperture closed/We’re both so familiar."

Ocean is now 28, an age that delineates the abuttals of appearing adulthood. Throughout his contempo multimedia releases like the pre-Blonde visual album Endless and his "Nikes" video, a new acquaintance of actuality developed up emerges as he weighs the allowances of affective forward, with the liabilities of dispatch abroad from his past. Nowhere is this as agitating as at the end of his article in Boys Don’t Cry, area he envisions his adolescence abbreviating abaft him as if from the driver’s bench of a car. Despite his present happiness, he can’t absolution its hold.

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“Boys do cry, but I don’t anticipate I afford a breach for a acceptable block of my boyish years," he says. "It’s decidedly my admired allotment of activity so far. Surprising, to me, because the accepted appearance is what I was allurement the creation for aback I was a kid. Maybe that allotment had its asperous stretches too, but in my rearview mirror, it’s accepting baby abundant to argue myself it was all good.”

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