When I was making ‘True Romance’ I was really worried about being cool. As most 16-to-18-year-olds are. Whereas now I don’t care about being cool because now I’m cool anyway. In a really weird nerdy uncool way. I don’t care. I’m really into this record I’ve made because I feel like it’s all me.


There are people who have figured out the exact, you know, Kanye West formula, the mix between ‘Graduation’ and ‘808s’, and were able to become more successful at it. ‘Stronger’ was the first, like, dance-rap song that resonated to that level, and then ‘808s’ was the first album of that kind, you know? It was the first, like, black new wave album. I didn’t realize I was new wave until this project. Thus my connection with [the graphic designer] Peter Saville, with Raf Simons, with high-end fashion, with minor chords. I hadn’t heard new wave! But I am a black new wave artist.

Mais uma da entrevista do NYT.

I remember when both Gnarls Barkley and Justin [Timberlake] lost for Album of the Year, and I looked at Justin, and I was like: ‘Do you want me to go onstage for you? You know, do you want me to fight?’.

Kanye West quase fez um ‘Imma let you finish’ com as Dixie Chicks. Da entrevista no NYT.

“Sweet Life,” “Thinkin’ ‘Bout You,” “Bad Religion,” “Super Rich Kids,” “Pyramids”– they feel already not just like timeless classics, but like generation-affirming proof that timeless classics might still be a thing.

Lindsay Zoladz na Pitchfork sobre o Frank Ocean