Frank Ocean "Nikes": looking for something real amidst the disbelief
For the indifferent, cynical, and distrustful protagonist, he finds something worth believing and genuinely real amidst the disbelief and artificiality, and that is his true feeling.
The key to understanding Frank Ocean's songs lies in viewing each song as a story. Ocean is a skilled storyteller – the title Channel Orange comes from the idea that each song on the album is a story (fictional or based in reality), interspersed with "movie dialogue and ambient noises as interludes," much like a film or TV series. Ocean didn't put his name on the album cover because he doesn't consider this work to be "his story," but rather a work he "directed." "Nikes," as the opening track of the album Blonde, is one such story.
The song begins with the protagonist's perspective on the world – "these bitches want Nikes." He believes that those who want to befriend him are only after his money, that they are gold diggers. The lines "ring like Carmelo" and "white like Othello," appearing alongside images in the music video of a Black woman lying on a pile of cash and a girl riding a white horse, likely refer to some Black women wanting to find wealthy white men, making themselves appear "whiter" and elevating their social status. Looking at these lyrics alone, one might interpret the song's theme as an opposition to materialism – Nike being a metaphor for "fake people," "fake relationships," and a "fake life." But as a story, these opening lines describe the protagonist's perception, not necessarily the truth. His judgment of others ("these bitches want Nikes") likely reflects his cynical, distrusting, and indifferent personality. From these lines, we can see that he doesn't trust people, is emotionally detached, and isn't interested in relationships ("I don't play, I don't make time").
Later, the song describes a (summer) party scene. At the party, he sees his cousin's girlfriend swimming in the pool, like a mermaid. Her parents aren't very responsible, and she makes a living as a drug mule ("His girl keep the scales"), but she feels lost, trapped in this life ("You been holding your breath / Weighted down"). Here, the "mermaid" (cousin's girlfriend) has a monologue – she knows her boyfriend doesn't have real feelings for her, but his drug business provides her livelihood, "and that's enough." She accepts continuing the relationship in a state of compromise and self-denial. And we can imagine that the song's protagonist develops affection for this pitiful, love-deprived girl. He calls her a "real mermaid" (distinct from the "fake people" described earlier who only chase Nikes and money).
After this, the pitched-up vocals disappear, and we hear Ocean's natural voice saying, "We'll let you guys prophesy," which can be understood as others not being optimistic about their relationship, but he doesn't care – only they know what the future holds for them. The lyrics describe the glamour, glitter, and psychedelic nature of the party, "So happy 'cause the night's over / 'Cause it's like yesterday was a whole 'nother life"; at the same time, the lyrics depict the emptiness and falseness behind the glamorous party. He senses the devil's presence in the party culture – the beautiful lawn is actually artificial turf, the party is lively but makes him want to wear a yarmulke to shield himself, Balmain pants look luxurious but make his balls stick together from the heat.
In the latter half of the music video, Ocean sets himself on fire, along with his outer clothing. He then cleanses himself with a fire extinguisher. This likely represents a need for self-destruction and purification. The protagonist realizes that the fast life/instant pleasure doesn't truly satisfy him, but instead leaves him feeling emptier. Amidst the false clamor of the party, the protagonist sees the "mermaid" arrive with a group of people. He tells her, "I know your nigga came with you / But he ain’t with you." Though he's with you physically, he's not truly there for you.
Under the influence of pheromones, they lie down on the damp ground, watching the feet of those around them dance. He says to her:
"I may be younger but I'll take care of 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"
He may be younger, but he'll take care of her (youth can also imply not being as wealthy). They're not in love, but he'll make love to her (echoing the protagonist's earlier statement, "I don't play"). This "confession" doesn't sound grand, but it sounds honest, like a sincere and simple promise.
For the indifferent, cynical, and distrustful protagonist, he finds something worth believing and genuinely real amidst the disbelief and artificiality, and that is his true feeling.
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