搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語(yǔ)原文與排版調(diào)整）

翻譯：Peter D

審譯：Ryan-Chopin

推送：Lynn Liu

讓人們期待許久的這位芝加哥說(shuō)唱藝人在里程碑式的混音作品《Coloring Book（涂畫書）》之后的續(xù)作簡(jiǎn)直給人感覺像是在翻一本婚禮相冊(cè)。

There’s a memorable scene in the movie?Elf?in which?Will Ferrell bursts into his dad’s office during a business meeting, twirls with glee, and proclaims, “I’m in love, I’m in love, and I don’t care who knows it!” If you took this?four-second clip?and played it 1,160 consecutive times, you’d get the equivalent of?Chance the Rapper’s 77-minute debut album?The Big Day—a tribute to Chance’s wife, Kirsten Corley, and a companion album to their wedding, which took place earlier this year in March. It’s exultant, like his 2016 gospel-rap opus?Coloring Book, but narrower in emotional scope.

電影《Elf（圣誕精靈）》中有這樣難忘的一幕：Will Ferrell在他爸爸開會(huì)時(shí)沖進(jìn)辦公室，高興地轉(zhuǎn)著圈并大聲宣布：“我戀愛啦，我戀愛啦，而且我一點(diǎn)也不關(guān)心別人知不知道！”如果你把這個(gè)4秒長(zhǎng)的片段連續(xù)放上1160遍，就相當(dāng)于Chance the Rapper這77分鐘長(zhǎng)的首張錄音室專輯《The Big Day》了。整張專輯就是Chance對(duì)愛妻Kirsten Corley的頌歌，也是今年3月份他們的婚禮的副產(chǎn)物。專輯洋溢著喜悅之情，這一點(diǎn)與2016年的福音說(shuō)唱混音專輯《Coloring Book》如出一轍，但卻在情感范圍上變得更精確了。

Coloring Book?was a unicorn rap record that imbued Chance’s entire narrative with a sense of resolution, even though he was only 23 at the time, as he championed his renewed faith as the beacon that would shepherd him through adulthood, fatherhood, marriage, and beyond. The project coincided with a stratospheric spike in Chance’s Q score; he won a Grammy for Best Rap Album, hosted?SNL, and assumed his place as planet Earth’s preeminent indie rap darling. The End!

《Coloring Book》是一張把雄雄的決心灌注于整體敘事中的如獨(dú)角獸般珍稀的說(shuō)唱唱片，即使他當(dāng)時(shí)還只有23歲，且正拼命捍衛(wèi)著他那新生的信仰，這份信仰對(duì)于他而言就如同燈塔，指引著他度過(guò)成年時(shí)代、做好一個(gè)父親、維系婚姻……這個(gè)項(xiàng)目的成功也伴隨著Chance的Q評(píng)分（譯者注：美國(guó)用于評(píng)判品牌或名人的知名度與號(hào)召力的指標(biāo)）的急速猛漲；他贏得了格萊美的最佳說(shuō)唱專輯，主持了周六夜現(xiàn)場(chǎng)，并成為了杰出的獨(dú)立說(shuō)唱寵兒。圓滿結(jié)局！

As Chance will tell you on?The Big Day, he and Kirsten are more or less living their storybook ending. “I’ve got plans to hug and kiss you/I’ve got plans to hug and hug and hug you,” he coos on “Let’s Go On The Run.”?The Big Day?contains about as much tonal variation as a leather-bound wedding photo album. Chance is more interested in celebrating the miracle of love than examining love’s warts, or the labor required to build and sustain a lasting marriage.

就像Chance會(huì)在《The Big Day》中向你講述的那樣，他和Kirsten幾乎過(guò)著童話般美滿的結(jié)局?！癐’ve got plans to hug and kiss you/I’ve got plans to hug and hug and hug you（我計(jì)劃抱抱你，親親你/我計(jì)劃抱你抱你再抱你），”他在“Let’s Go On The Run（我們一起遠(yuǎn)走高飛）”中柔聲唱到。《The Big Day》中的音調(diào)變化就像皮面裝訂好的婚禮影集那么多。比起審查愛情的毒瘤或是維系長(zhǎng)久的婚姻所需需要付出的努力，Chance顯然對(duì)于慶祝愛的奇跡更感興趣。

While Chance’s prodigious storytelling abilities are generally wasted on his incessant hem-kissing, they briefly come alive when he cops to cheating on “We Go High,” a song about a time when his relationship with Kirsten came to a grinding, precarious halt: “My baby mama went celibate/ Lies on my breath, she say she couldn’t take the smell of it/ Tired of the rumors, every room had an elephant/ Tryna find her shoes, rummaging through the skeletons.” On “Eternal,” an allusion to his infidelities illuminates an intimate snapshot of the ways they spend their time together: “Side chicks can’t take out splinters/ Side chicks make they Kool-Aid with Splenda.”?The Big Day’s?lengthy, watered-down run-time makes it easy to lose sight of these important wrinkles.

Chance那驚為天人的敘事能力在這專中也基本浪費(fèi)在無(wú)窮無(wú)盡的討好和親昵中了，只有當(dāng)他在“We Go High（我們保持高尚）”中談到謊言時(shí)其敘事能力才又得以展露，這首歌描繪的是他與Kirsten的關(guān)系陷入了漫長(zhǎng)又不穩(wěn)定的停擺：“My baby mama went celibate/ Lies on my breath, she say she couldn’t take the smell of it/ Tired of the rumors, every room had an elephant/ Tryna find her shoes, rummaging through the skeletons.（孩子的媽媽要開始禁欲/我的一呼一吸都滿是謊言，她說(shuō)她受夠了這味道/厭倦了流言，每間房子里都塞著大象/想找到她的鞋，在骷髏中翻找。）”在歌曲“Eternal（不朽）”中，一些關(guān)于不忠的影射勾勒出了他們平時(shí)一起生活的快照：“Side chicks can’t take out splinters/ Side chicks make they Kool-Aid with Splenda.（情婦們可不會(huì)幫你從身上取出玻璃渣/情婦們只會(huì)用善品糖做Kool-Aid飲料。）”《The Big Day》那冗長(zhǎng)而稀松的專輯長(zhǎng)度使得人們很容易忽視這些重點(diǎn)。

To Chance’s credit,?The Big Day?achieves the festive vibe of a wedding not only through explicit descriptions (“Backyard blasted, dance ’til it’s grassless / Patio glass, the mazel tov cocktails”), but also in his repeated efforts to coax old heads onto the dance floor. The album’s most fun tracks invoke ‘90s R&B and?Chicago’s tradition of house music. There’s En Vogue on “I Got You (Always And Forever),” SWV on “Found A Good One (Single No More),” a Brandy sample on “Ballin Flossin” On juke number and future wedding staple “Found A Good One,” Chance jumps up and grabs the mic and chants, “I’m not single no more,” simultaneously celebrating his marriage and exhorting partygoers to keep on dancing. Voices on?The Big Day?are as far-flung as those you’d find in any sizeable wedding; guest artists range from DaBaby to Death Cab For Cutie frontman Ben Gibbard to Randy Newman, and actors John Witherspoon and Keith David pop up on the skits to deliver avuncular toasts.

Chance值得稱贊的一點(diǎn)是，《The Big Day》很成功地創(chuàng)造出婚禮的喜慶氛圍，不僅僅是通過(guò)直白的描述（“Backyard blasted, dance ’til it’s grassless / Patio glass, the mazel tov cocktails（后院都炸了，跳舞跳到草坪都禿了/空地上的草，帶來(lái)好運(yùn)的雞尾酒）”），還體現(xiàn)在他不懈努力把老頑固們哄騙進(jìn)舞池里。專輯中最有趣的幾首歌都帶有90年代R&B和芝加哥傳統(tǒng)浩室音樂的色彩。歌曲“I Got You (Always And Forever)（我永遠(yuǎn)守護(hù)你）”中有En Vogue組合，“Found A Good One (Single No More)（找到心上人）”里有SWV組合，“Ballin Flossin(親親我我)”還有一段對(duì)Brandy歌曲的采樣。在自動(dòng)點(diǎn)唱機(jī)時(shí)刻，也是未來(lái)婚禮的主要環(huán)節(jié)“Found A Good One”中，Chance跳出來(lái)一把抓過(guò)麥克風(fēng)反復(fù)唱著“I’m not single no more（我不再是單身了），”既慶祝著自己的婚姻，也勸來(lái)參加派對(duì)的人們別停下舞步。《The Big Day》中的聲音種類廣泛到你在多大規(guī)模的婚禮上都能聽到；邀請(qǐng)來(lái)的藝人從DaBaby到Death Cab For Cutie的主唱Ben Gibbard再到Randy Newman，甚至還有演員John Witherspoon和Keith David在小劇場(chǎng)中突然出現(xiàn)獻(xiàn)上長(zhǎng)輩式的祝酒詞。

Nostalgia has always been a hallmark of Chance’s music. On?The Big Day, it often takes the form of a kind of forward-looking sentimentality, as he expresses concerns about his death and legacy. “Do You Remember” is preemptive nostalgia for the present. Later, Chance considers the benefactors of his will and wrings his hands worrying if his?Lifetime?movie will be any good. On “Sun Come Down” he raps, “Please don’t make no holograms, don’t wanna do it twice/ You wanna use my likeness, please approve it through my wife.” This preoccupation with the future underscores the fact that Chance exists on an accelerated timeline; he’s 26, but he’s already turning his attention to the task of securing his legacy and raising his family.

Despite its length,?The Big Day?is self-contained, at least by Chance’s standards. He doesn’t touch on Chicago politics, even though he recently threw his full weight behind Chicago mayoral candidate Amara Eniya and bought the?Chicagoist?from Cubs owner Joe Ricketts. Some of the album’s most memorable moments?occur when he steps outside of his nuclear family circle. On “Do You Remember,” he acknowledging both the distance and admiration that exists between him and Chicago civilians, who “walk on eggshells and landmines [and] communicate with hand signs.” On album closer “Zanies and Fools,” he remembers falling in love with his wife at first sight, when they were 9 years old, then argues that the world has always conspired against marriage, especially for black people. It’s the first and last time on?The Big Day?that marriage appears not just as a pact between him and his wife and maybe God, but as a political, even subversive, act as well: “Now I wanna give it to her, Sierra Leone, serenade/ Sometimes love come with its own barricade/ Sometimes love just gotta hold, marinate.”

懷舊一直是Chance的音樂所具有的鮮明特點(diǎn)。在《The Big Day》中，它通常伴隨著展望未來(lái)時(shí)的多愁善感而出現(xiàn)，Chance表達(dá)著對(duì)于死亡與遺產(chǎn)的擔(dān)憂。“Do You Remember（你還記得嗎）”一曲中就體現(xiàn)出了對(duì)于當(dāng)下的事先懷念。稍后，Chance又開始考慮自己遺產(chǎn)的受益人，還緊緊攥著手擔(dān)心自己的傳記電影會(huì)不會(huì)太差勁。在歌曲“Sun Come Down（太陽(yáng)落下）”中，他說(shuō)唱著：“Please don’t make no holograms, don’t wanna do it twice/ You wanna use my likeness, please approve it through my wife（請(qǐng)別把我做成全息投影，不想再做一次了/你要是想使用我的肖像，請(qǐng)通過(guò)我的妻子來(lái)批準(zhǔn)）?！?strong>這些關(guān)于未來(lái)的深謀遠(yuǎn)慮深刻表明了Chance活在一個(gè)加速時(shí)間線上的事實(shí)；他才26歲，但他已經(jīng)把注意力放在安頓遺產(chǎn)并養(yǎng)育家庭的任務(wù)上了。

除開專輯的長(zhǎng)度，《The Big Day》的獨(dú)立性很強(qiáng)，至少以Chance的標(biāo)準(zhǔn)來(lái)看是這樣的。他沒有觸及芝加哥的政治，即使他最近全力支持了芝加哥的市長(zhǎng)候選人Amara Eniya，還從Chicagoist的網(wǎng)站所有人Joe Ricketts手中買下了網(wǎng)站。專輯最精彩的時(shí)刻就部分發(fā)生在他踏出自己的核心家庭小圈子時(shí)。在“Do You Remember”中，他承認(rèn)了在他與“踩在蛋殼和地雷上，用手語(yǔ)交流”的芝加哥市民之間存在的距離與尊崇。在專輯的結(jié)束曲“Zanies and Fools”中，他回憶著與妻子在9歲時(shí)一見鐘情，然后抗議世界總是在暗暗破壞婚姻，尤其是黑人的婚姻。這是《The Big Day》中第一次也是最后一次出現(xiàn)這種情況了：婚姻不僅僅是他和妻子間的一紙合約，可能還是與上帝之間的條約，還是一條富有政治意味甚至具有顛覆性的條約：“Now I wanna give it to her, Sierra Leone, serenade/ Sometimes love come with its own barricade/ Sometimes love just gotta hold, marinate（我想把一切都獻(xiàn)給她，塞拉利昂，小夜曲/有時(shí)愛情本身就帶著巨大障礙/有時(shí)愛情只是需要時(shí)間）.”