Dissect - S3E10 - Pink + White by Frank Ocean

Episode Date: July 31, 2018

We dissect "Pink + White" by Frank Ocean, a beautiful, mosaic-like remembrance of childhood. Listen to Dissect on Spotify and get episodes a week before all other platforms and exclusive bonus episodes. Follow @dissectpodcast on Twitter and Instagram. Learn more about your ad choices. Visit podcastchoices.com/adchoices

From Spotify Studios, this is Dissect, long-form musical analysis broken into short digestible episodes. I'm your host, Cole Kushman. Today, we continue our serialized examination of Blonde by Frank Ocean. On our last episode, we dissected the album's second track, Ivy. There we heard a sentimental ode to a failed relationship. Due to the passing of time and deep introspection, Frank was able to commemorate the positive moments of their time together, rather than dwell on and immortalize the negative.

This thread of commemoration and acceptance continues on the album's next track, the subject of today's episode, Pink and White. The song's string arrangements are credited to John Bryan and Benjamin Wright, while backing vocals are provided by Beyonce. Pink and White is composed in a 6-8 time signature, giving the track its swinging sing-song quality. While it's one of the more commonly used time signatures, you don't often hear contemporary pop songs in 6-8 time, so I think now is a good opportunity to take a brief trip back in time to explain this fundamental compositional tool. The music you're hearing right now is typical of the medieval period in history, that is, between the years 500 and 1400 AD.

The earliest music of this period was monophonic. that is a single melody without accompaniment. At this time, musical notation in the West didn't exist, and melodies were taught orally, passed on from one singer to the next. Relying on this oral tradition became limiting as Roman churches sought to standardize church melodies across vast distances. To aid the standardization of these monophonic melodies, dots were crudely written above the words,

placed higher or lower to indicate if the pitch was to be sung higher or lower. Thus the earliest iterations of what would become our music, notation system was born. This basic notation system developed over time, and as music became more complex, more sophisticated notation tools were required. Specifically, as music moved from monophonic melodies sung by one person to polyphonic melodies sung by multiple singers and later instrumental accompaniment, rhythm became increasingly important, as multiple musicians needed to stay together in order to keep the piece from falling apart. By the mid-13th century, the first Western Rhythmic Notation System was developed called Rhythmic Modes, laying the foundation of what

would become our modern notation system. Rhythmic modes used the physical space between notes to indicate how long or short a note was to be played. By the 14th century, this evolved into a much more accurate and dependable system called Manzural notation. Here the notes themselves were expressed with different symbols that indicated the duration of that note. This system eventually birthed the measure. Separated by vertical bar lines on a musical staff, a measure organizes a piece of music in small sections, with each measure containing a certain number of beats. A time signature, expressed at the beginning of a piece of music, tells us how many beats are contained in one measure of a particular piece of music. Today, the most common time signature in Western popular music is written

in what's called 4-4-time, meaning there are four-quarter-note beats per measure. So when you hear musicians counting one, two, three, four, and then starting over, one, two, three, four. They're counting the beats of one measure in four-four time, then moving on to the next measure, starting the one, two, three, four count over. A piece of music is organized in measures, and these measures are performed literally to create a composition or song. Now, I know this is a lot to throw at you at one time, but the cool thing about all this is that you actually know these things quite well. To prove this, Let's hear a few examples. First, we'll listen to Brandenburg Concerto number 3 in G major,

written by Johann Sebastian Bach in 1721. As the piece plays, I'll count along for four measures, and I want you to join in as I'm counting. Then I'm going to stop for two measures, but I want you to continue counting. Then I'll come back in, and if you and I are synced, you'll know that you counted correctly in my absence.

Okay, ready? Count along with me. One, two, three, four. One, two, three, four. One, two, three, four. One, two, three, four. One, two, three, four. One, two, three, four.

One, two, three, four. Okay, so were we in sync when I came back in? I'm guessing for most of you, the answer is yes. Let's try another, but this time I'm only going to count two measures with you. You keep counting when I stop, and I'll join back in after a while. Again, if we're synced when I come back in, you know you counted correctly in my absence. 1, 2, 3, 4, 1, 2, 3, 2, 3, 4. 1, 2, 3, 4. So, how'd you do?

Again, for most of you, I'm going to assume you did it correctly. These rhythms and patterns are so culturally ingrained in all of us that even those with no musical training are able to do this exercise somewhat easily. And while this might seem second nature to you, this is actually an incredibly complex rhythmic system that took hundreds of years to develop and mature. It's the reason I took the time to outline its lengthy development at the beginning of this sidebar. There's incredible history behind what we take for granted every day. Okay, so now that you're feeling like the second coming of Mozart, let's make it a little more challenging. Like I said earlier, most of the popular Western music you listen to every day is written in 4-4-time, four-quarter-note beats per measure.

But that's just one way to divide up time. Let's hear a few more. We'll start with a generic pulse. Each click your hearing represents a new measure. Now let's chop up the time between each click or measure differently. That is, use different time signatures to organize that space and time. Let's start with what you know, 4-4-4-4. Four quarter notes to divide the time between each bar.

Next, let's try 3-4-4-4-1-2-3-4. Next let's try 3-4 time, that is 3 quarter notes to divide the time between each bar. 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 4, 6. 1, 2, 8th notes per measure. 1, 2, 3, 4, 5, 6, 1, 2, 4, 6, 1, 2, 4, 6. Okay, so now for something a little more complex and unusual. 5 4 time, 5 quarter notes, per measure.

One, two, three, four, five, one, two, three, four, five, one, two, three, four, five, one, two, three, four, and change the time signature at random while maintaining that same overall pulse. One, two, three, four, one, two, three, one, two, three, four, five, six, one, two, three, four, five, one, two, three, four, six, one, two, three, four, five, one, two, three, four, five, one, two, 3. 1, 2, 3, 4. 1, 2, 3, 4, 5, 6, 1, 2, 3, 4, 5 6. Did you notice how with each time signature came a different feeling or groove? Even though the overall pulse stayed the same, the way we chop up or divide the time has an incredible impact on the overall physicality of that time. This is the beauty of time signatures.

Each one comes with its own identity. Each one has its own unique interpretation of time. Now let's hone in on 6.8 time. That's sixth eighth notes per measure. One, two, three, four, five, six, one, two, three, four, five six, one, two, three, four, five six. Notice how the groove kind of swings back and forth? That's six eighth signature swing. It's often used in jigs and polkas.

But probably more relevant to you than a jig is six eighth's use in some of history's greatest pop ballads, especially popular in the 1960s and 70s. Let's hear James Brown, 1966 hit. It's a man's man's man's world. written in 6-8 time. This is a man's world. 4.5, 6, 1, 2, 3, 4, 5, 6, 1, 2, 3, 4, 6. And now, Otis writings, Pain in My Heart from 1964.

Painting my heart. 1, 2, 3, 4, 5, 6, 1, 3, 4, 6. 1, 3, 4, 6. 6. And here's the Beatles, oh, darling, darling of 1969. Even Queen's Stadium Rock Ballad, We Are the Champions, is written in 6-8 time. And so while less common than 4-4-time, 6-8 certainly has its place in contemporary music, including, of course, the subject of our episode today, Pink and White by Frank Ocean. As I play this excerpt, see if you can find and count along to its 6-8 time signature. 4-5-6, 1, 2, 3, 4, 5, 6. Could you find it?

Let's isolate the drums and try again. One, two, three, four, five, six. One, two, three, four, five, six. Got it? Pretty cool, right? You can now count a pretty complex time signature. The next time you listen to this song with a friend, you can give them an unwanted historical lesson

about the evolution of rhythm, beginning with medieval music, and ending with the grand performance of you counting six eight time along to pink and white. And after our next segment, you'll also be able to explain the concept of a trill, an instrumental musical technique utilized in Pink and White's opening moments. Let's have a listen. Performed by a string section, this introductory half measure utilizes

the trill, a technique that finds musicians oscillating quickly between two notes a half step apart. On Pink and White, the musician's trill between the notes E and F, now played a little faster, and faster. The effect in the opening of Pink and White is accentuated by combining the trill with a dynamic technique called crescendo, that is moving from quiet to loud, causing a swell of sound that helps add dramatic tension. This trail is immediately followed by Pink and White's main musical material. We already heard the song's main drum pattern, which you know is played in 6-8 time. Next, an arpeggiated bass line is added, outlining the song's three descending chords. An electric piano is gently placed atop the bass, grounding the underlying harmony,

C major 7, B minor 7, and A major 7. Finally, we have the reverb heavy piano riff. The drums, bass, electric keys, and piano comprise the basic musical elements over which Frank delivers a heartfelt opening verse. A verse will thoroughly dissect right after the break. Welcome back to dissect. Before the break, we outlined the basic elements that comprise Pink and White's musical foundation. Frank enters the track with a few ad-libs, followed by the song's opening verse. Frank begins every time we've no control.

If the sky is pink and wide, if the ground is black and yellow, it's the same way you showed me. Yeah, don't clue my eyes halfway on a soul move. It's the same way you show me. Frank begins the verse, that's the way every day goes, every time we've no control, if the sky is pink and white, if the ground is black and yellow. These opening lines outline the philosophy to be explored throughout the song.

our general lack of control in life and learning to accept and find beauty in life regardless. Here Frank outlines this concept using the colors of a sunset, pink and white, and what seems to be a paved road, black and yellow, as in black asphalt and yellow dividing lines. We have no control over these things, the sky's colors exist without our permission, and the majority of roads were paved before we are born. For the most part, the earth, by nature and by man, is a force too powerful and well established to be easily altered. By extension, the circumstances of our lives and the relationships there within are also difficult to control, and it could be argued that we're all just playing out a script dictated by history, circumstance, genetics, and environment.

As the verse continues, we hear the song's main refrain. It's the same way you showed me. Here we realize the lesson Frank learned and will express throughout the song was the teachings of someone, though it's currently unclear who that person is. The verse continues, nod my head, don't close my eyes. Notting one's head is an affirmative gesture, something one does when saying yes. Don't Close My Eyes seems to imply a commitment to see the world as it truly is, to relinquish control and accept the way things are. Hiding one's eyes is denying or being blind to the world's realities, living in ignorance

or false truths. It calls to mind the line from the Beatles' strawberry fields forever, in which John Lennon sings, living is easy with eyes closed. While a life tuned into the harsh realities of the world may be more difficult, it's a more authentic and truthful way to live. With the help of the song's muse, Frank seems to be attempting to do just that, while also saying yes or remaining affirmative to things, experiences, and opportunities around him. It calls to mind a quote from an essay Frank wrote for ID Vice, quote, you can answer a lot of questions with yes, but you can answer many more with no. No

is run of the mill. Yes is a gem, unquote. Frank concludes the verse by repeating the song's refrain, followed by a play on the migration of birds. Frank sings, it's the same way you showed me, just the same way you show me, sure me, sure. Frank sings, it's the same way you showed me. If you could fly, then you'd feel south, up north getting cold soon. Flying is often romanticized and desired, but Frank points out that even flying has its downside, namely the long migration some birds undertake, flying south to escape the cold weather in the north.

But with the addition of the next lines, we might suspect this bird metaphor relates to their relationship. Frank sings, The way it is, we're still on land, still on someone to hold true, keep you cool when it's still alive, won't let you down when it's all ruined. It's possible that it's referencing these lines is the health of their relationship. Frank will cherish the moments they are together, but won't hold a grudge when this person heads south or abandons the relationship. Again, like the verses first half, Frank has learned acceptance of the things he can't control through this relationship, a lesson he's then able to apply in other things in his life.

Pink and White continues with the song's hook. Frank sings just the same way you showed me. You showed me love. Glory from above. Regard, my dear. It's all downhill from here. The song's hook continues the philosophy established in the song's first verse. Frank's lover showed him acceptance of things out of his control, which ironically includes the end of the relationship. But just like the album's previous song, Ivy, Frank is able to cherish and commemorate the highs and the good that came from the relationship. This person taught him about the world, about love, about tolerance. Though it's all downhill from here, Frank is still able to reflect

positively on the experience. We also consider the alternative interpretation of it's all downhill from here as an easily coasting downhill on a bicycle, that is, the difficult uphill climb is over, and it's easy going from here on out. If this was the intention of this line, we might speculate that because he was shown love and acceptance, he can now continue in life finding peace despite whatever conflicts or circumstances might come as way, rather than futilely fighting them, which would be an uphill battle. After the song's hook, pink and white abruptly shifts musical environments, while the drums maintain the same pattern. Additional percussive elements are added with conga drums. The electric bass guitar is replaced with a stand-up bass, and the harmonic

foundation first played by the electric keyboard is replaced with an airy acoustic guitar. This abrupt shift in musical material would become a reoccurring technique employed throughout blonde. We already experienced a similar shift in the opening track, Nike's, as its first half shifted from a keyboard to acoustic guitar. Now let's hear the musical transition of pink and white, followed by the song's second verse. Frank begins Just the same way you showed me The porch side Older kids trying off the rules

Just the same way you showed me You a shot Frank begins verse 2 In the wake of a hurricane Dark skin of a summer shade Here Frank evokes images of summer In his childhood in New Orleans An area known for hurricanes

But rather than express the tragedy of such hurricanes Frank chooses instead to focus on some of the good memories that were born from these storms. He sings, nose dive in the floodlines, tall tower of milk crates, cannonball off the porch side, older kids trying off the roof. This scene is strikingly similar to and most likely based on Frank's earliest memory of a flood, as outlined in an interview he did with wax poetics. Quote, I remember the first flood I ever experienced. I was little, maybe like six. It flooded probably two inches underneath the threshold of our door, so it didn't get into the

house. So it was like three feet of water. My cousins and I would stack up milk crates and were using it as diving boards into the floodwaters. We were doing that all day until one of my neighbors came out there with a little swamp-style boat and grabbed a water moccasin out of the water and cut its head off against the fence. That was the last time I swam in any floodwaters. I think that was my earliest memory of something that was really a part of New Orleans culture. I consider hurricanes to be part of New Orleans culture in this weird way, unquote. The second verse concludes with another repetition of the song's refrain, followed by a wide-angle view of the philosophy being presented throughout the track.

Frank sings, if you could die and come back to life, up for air from the swimming pool, you kneel down to the dry land, kiss the earth that birthed you. It's unclear whether Frank is talking specifically about a friend who died by drowning in a swimming pool or floodwater, or if he's talking more generally about death. Either way, the sentiment seems to be that with death comes an appreciation of life, a realization or reminder that our time on earth is fleeting and ever precious, that we should cherish our moments here, be thankful to the earth, for birthing us and providing such a beautiful playground on which to live.

The verse comes to a close with the lines, gave you tools just to stay alive, and make it out when the sun is ruined. Given that the verse is centered around his childhood in New Orleans, we might suspect these concluding lines to be about his mother, or perhaps his deceased grandfather that helped raise him. Specifically regarding his grandfather, Frank told GQ, quote, He didn't speak a terrible amount, but you could tell there was a ton on his mind, like a quiet acceptance of how life turned out, unquote. In a song that speaks of acceptance and tolerance, this sentiment regarding his grandfather seems to have relevance here on Pink and White. After a repetition of the song's hook, Pink and White ends with an outro that features backing vocals

by Beyonce. Frank continues his nostalgic, reflections of youth singing, Remember life, remember how it was. Climed trees, Michael Jackson, It All Ends Here. This latter line is especially potent. Michael Jackson, a global superstar most kids Frank's age,

idolized growing up, was known to climb trees as an adult and write songs in his tree house. He's also known for pursuing the childhood he'd never had, building the elaborate Neverland theme park, and regularly hanging out with young kids. Saying, it all ends here,

seems to be a statement regarding life after childhood, that the realities of adulthood find us chasing and remembering the innocence and freedom of our youth, as it sharply contrasts with the pressures and complications of adulthood. Michael Jackson becomes both an iconic symbol of Frank's youth, and also a symbol of this endless chase to return to the carelessness of childhood. Frank continues shouting out Matthew, Danny, and Shub, kids we might suspect Frank grew up with. He then follows with a few brief impressionistic images of his youth, bending up my Nikes, refers to the crease and leather Nike shoes one gets with age or physical activity. Nike is also the Greek goddess of victory, and Frank uses this alternative meaning to lead to the

next line, running out the melpomene. Melpomene is the Greek goddess of tragedy. It would seem Frank is juxtaposing victory and tragedy, and by extension, life and death, tying nicely in the song's overall messaging. Frank follows with the line, nicotine, stealing granny Sigs, another sketch of common juvenile behavior. Finally, the song ends with Frank saying, Give me something sweet. Bitch, I might like immortality. This is life, life immortality. Immortality is a scary thought to someone who constantly suffers, but given Frank's newfound acceptance of life and its events both good and bad, he seems now to be okay with the thought of living forever. Thanks to a past lover, his grandfather, and or his mother,

He's learned that tolerance is bulletproof, that by relinquishing the attempt of controlling the uncontrollable, one can move through life with the ability to withstand conflict and misfortune, finding beauty despite life's many hardships. Also, it's possible that Frank here is referring to memory as a kind of immortality, that the childhood impressions he's shared throughout the song, gain a kind of deathlessness as they are immortalized in his mind. Conclusions Just like Blond's previous track Ivy, Pink and White's nostalgic recollection of

Frank's personal history is textured with philosophical nuance and introspective wisdom just beneath the surface of its seemingly simple impressionistic lyricism. This will become an approach we'll see time and again as we continue our analysis of Blonde. As Frank stated, Blonde is autobiographical, and his memories of the past are informed by his present. That is, with time, reflection, and maturation, Frank is able to share those memories with concision, using them to illustrate a life lesson or general philosophy he's gained from those experiences.

pink and white, Frank displays an understanding that with acceptance and relinquishing of control comes tranquility and a general gratitude toward life and its dynamic experiences. Despite the impending doom of an exploding sun and the downhill deathward nature of our life as we age, he's quote, remembering life, remembering how it was, reflecting fondly on his childhood in New Orleans, diving into floodwaters, climbing trees, stealing cigarettes. Just like Nike's and Ivy, Frank's lyrics are constructed in a way that portrays how we remember, because the photography of our mind is a mosaic of abstract imagery, a hazy yet vivid composite of emotion and slow motion images stored in the hard drives of our mind. This mosaic approach to memory will continue even more

explicitly as the album progresses into its next song, a vignette-driven rumination on loneliness and freedom called solo. A song we'll thoroughly discuss next time on dissect. Dysect is written and produced by me. project support by Spotify's Michelle Santucci, original theme music by Birocratic, song recreations by Andrew Atwood. Remember, when you listen to Dysect on Spotify, you'll get new episodes a week before all other platforms, as well as access to exclusive bonus episodes only available on Spotify. Follow at Dysect Podcast on Twitter and Instagram, and join our mailing list at Dysectpodcast.com. Okay, thanks everyone. I'll talk to you next week.