A Quote by Frank Ocean

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.
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.
When I was in high school, I remember writing a research paper, and the teacher said I should write about Langston Hughes. I felt as if I was the only black dude who didn't like Langston Hughes. He didn't seem as dark and layered as someone like Flannery O'Connor.
I heard Smokey Robinson was singing one of my songs on the radio the other day. Being in the presence of Mavis Staples, Erykah Badu, Jill Scott - Stevie Wonder joined me on stage recently. That blows me away.
I'm always struck by the kids who turn up in New York and LA, and places in between. Chicago. Wanting to do theater, wanting to do independent film. Wanting to break into television or radio.
When I was a small boy, 10, 11, 12, probably somewhere around there, when I first heard a blues song on the radio, it was a jolt of electricity. It grabbed me by the throat, it made me shiver. And I knew from that moment that this was for me and this would be with me for the rest of my life.
I became a radio nut. I loved the afternoon serials, and I got into jazz through the radio. I had a subscription to Down Beat when I was 12. And I'd spend a lot of time in front of the minor, miming records.
I started out wanting to write great poems, then wanting to discover true poems. Now, I want to be the poem.
Now being 41 and looking back on my career... It became natural for me to revisit Inglewood and to revisit the coming-of-age movie, but not wanting it to feel like a period piece completely about nostalgia but wanting it to feel like something that was relevant today and also forward-looking.
Stevie Wonder's records introduced me to '70s soul when I was 12 or 13.
I started to write my own stories, like small novels, and those novels became poems, and after poems, they became lyrics, and song came from that.
For me, if 'Maryland' became half of what 'Searchin' My Soul' became, as far as radio play goes, I would be thrilled.
I don't know that I ever wanted greatness, on its own. It seems rather like wanting to be an engineer, rather than wanting to design something--or wanting to be a writer, rather than wanting to write. It should be a by-product, not a thing in itself. Otherwise, it's just an ego trip.
When I was first writing, I used to sit at the piano and play songs - I'd write one or two a night. It was my hobby. At some point, it then became a process that was mainly done within the context of the studio, and writing became part of the recording process.
. . . hell is wanting to be somewhere different from where you are. Being one place and wanting to be somewhere else . . . . Wanting life to be different from what it is. That's also called leaving without leaving. Dying before you die. It's as if there is a part of you that so rails against being shattered by love that you shatter yourself first.
I had the little Radio Shack crystal radio, and then my aunt Judy bought me a shortwave radio. It was amazing to me: like on these really clear nights - I lived in Ohio - I could get Texas or Florida. You felt like the world was a smaller place.
But, I swear, they're turning Donna into Annie Hall this season. More ties. More suits. But they're also keeping her really motivated, ya know? Like, wanting to be a rock journalist. Wanting to be the first woman president.
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