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Ocean isn’t interested in any of that, and Blonde, in its own delicately considered ways, resists and subverts any narratives as simple as that.

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Since that moment, the world has held Ocean up as an avatar of something - of queer artistry, of an increasingly enlightened society learning how to perceive sexuality, of new forms of R&B. In the week before Channel Orange, Ocean wrote movingly on his Tumblr about falling in love with a man. The Ocean of Blonde isn’t treating this music as a job. They drift along impressionistically, expanding and contracting according to their own internal rhythms and chemistries. These songs, for the most part, have no shape or structure to them. But I also feel like that one line shows Ocean’s antipathy to the rigors of pop music - rigors that he studiously ignores throughout Blonde. So Ocean feels like he needs to remind us that we’re lucky to have his music in our lives at all, that he isn’t going to rush anything when he doesn’t want to, that we’re going to have to receive this music with the patience that the music itself demands. The album itself was so elusive that I almost can’t believe it’s here now it feels like it can be taken away at any moment. The release of Blonde, was, of course, a brutal quagmire of deadlines hinted at and ignored, of leaked release plans that ultimately went nowhere. I ain’t had me a job since 2009.” That, of course, is a comment on all the deafening noise surrounding Blonde for months, if not years, before it finally came out. One of the most immediately quotable lines from Blonde, Ocean’s new album, comes on “Futura Free,” its last song: “I ain’t on your schedule.

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Ocean, by contrast, is an artist who can be a recording-industry professional when he feels like being one. The big difference, I think, between Ocean and someone like Miguel is that Miguel is a recording-industry professional who, when the moment calls for it, can also be an artist.

Ocean knew how to engineer an exciting moment like that John Mayer guitar solo.

More expansive songs like “Pyramids” were too loose and shaggy for pop-song structure, but there was still precision in their architecture. And tracks like “Thinkin Bout You” and “Lost” were so immediate, in part, because they were so structured. He could draw on that gift at his leisure. With that album, Ocean was making a type of soul music that was sun-blind and decentered, but he still had a mechanic’s understanding of how pop music worked, of how you’re supposed to put a song together. The version of Ocean who made Channel Orange wasn’t too far removed from his government-name self, the one who’d put in time in the trenches, writing pop songs for hire for clients like Justin Bieber and Brandy. Back when he made Channel Orange, Frank Ocean had a secret weapon, and that secret weapon was Christopher Breaux.