#There’s clearly going to be more exploration of the wider political situation and also god stuff in the latter books -

[aroaessidhe]

2025 reads / storygraph

This Gilded Abyss

fantasy/thriller/romance, start of a series

gilded-age fantasy world where a rare magical substance is mined deep undersea

a sergeant struggling with grief and trauma of her best friend dying in a mine collapse, is asked by a young royal (…her ex girlfriend) to help her investigate a strange murder - on the luxury submersible heading exactly where she never wants to return to

when there’s another massacre, confirming their suspicions that it’s caused by an illness inducing a violence craze, they have to find a way to survive, trapped on the ship until it arrives at the undersea city

[vorecommunitywoes]

Slowly began to read your blog, and I have to admit. I'm starting to realize your right. I have been gr--med by a vore lover before, and Yeah. You literally can not stop Vore from being a kink or a fetish. It's literally impossible. The name itself is sexual and no matter how hard you try to seperate it, in the end its just something adults made and that children clearly should have NEVER been near before.

I am sorry you've had to witness the immaturity of the community, and I'm so sorry you're getting harassed over this. I wish you so many good things, and I'm sorry.

oh my god yeah i am so sorry youve been exploited before, no one ever fucking deserves that. if no one has told u already it is not ur fault, it was entirely on the other person who did that to u.

on the other points, i do want to point out that u can like vore in a completely nonsexual way, just that it isnt something u should trust an adult with if u are a child. if u have groups of peers around ur age that u can talk to about vore with, sexual or nonsexual, that are private groups, those are safer spaces to explore vore. and if u feel uncomfortable in those groups, u should absolutely 100% also leave and make sure u dont give ppl ur personal information

there is nothing that u need to apologize for, i think a lot of ppl here are willfully misinformed and that talking ab this "politely" is not going to bring any change to how ppl approach nonsexual kinks. that under the surface there r a LOT of bad actors and that u cant just trust anyone who puts up a cuddley soft safe facade where they want to be intimate with u or other children. vore/EAT/swwh is an INTIMATE concept. it doesnt have to b sexual at all, but its a form of power play where u dominate someone else with ur body, which can very quickly turn into unsafe situations.

its not bad or shameful to be into things like this, whether its just a nonsexual interest or if its a sexual fetish. just if u are a child u have to realize this is a different nuance than being into like geology or dinosaurs n stuff because of the intimacy, and that its going to b more safe for you to explore this without the world watching u until ur an adult. its hard to realize how many people see ur stuff since not everyone who does will comment on it. and u dont know if the wider world will see ur work, repost it, make sexual comments about it, and there is much less u can do about that than if u were to post this in a much more private setting where u have more control over WHO sees ur work. (when i was a kid my vore art was reposted onto other websites too for ppl to use as fetish rp characters... it felt horrible and violating and i wish i only put it in private groups so its not out there like that)

i wish u good things too, and to take a break from the internet for a bit if u need. if u have any other peers ur age that have private groups to talk about this sort of thing with (and if they have separate categories for nsx and kink areas (again no adults. i just know how the internet is and the safest way for a minor to explore ANY sexual interests (since they will tend to anyway) is with ppl around their age, NOT adults.)), maybe u could ask to join or make one. just, again, be careful and take care of urself, ok?

[returnsandreturns]

for @amazing-spiderling, who is great and donated to a good cause! a cozy winter thing that probably needs a part two soon

---

“You know how sometimes I force you to have the fun that you didn’t get to have in your tragic backstory of a childhood?” Foggy says. “Because I’m your best friend and I love you?”

“Sure,” Matt says, suspiciously, pointedly ignoring the stupid little twinge in his heart that he gets every time Foggy says that he loves him. Which is often because he didn’t have a tragic backstory of a childhood and he knows how and when to say stuff like that.

Matt’s not jealous but he can’t help but note that Foggy has a clear advantage in their friendship occasionally.

“Well, you see, there’s all this snow outside. . .” Foggy starts.

“No,” Matt groans, immediately. “I hate snow. You know that.”

“You hate snow because you don’t have the foundation to love it,” Foggy says, grabbing Matt’s shoulders when he starts to turn away. “I can teach you! I can introduce you to the wonders of winter!”

“It’s cold,” Matt says, “and there’s slush and I can’t see ice on the sidewalk and—”

“I will be there every step of the way,” Foggy says, so earnestly. “I will carry you over the ice.”

“I don’t think you can carry me,” Matt says, smiling despite himself.

“Matthew,” Foggy says, moving his hands to hold Matt’s face instead. “Let me fix you.”

“. . .why do you care so much?” Matt asks, liking this whole situation a little too much while simultaneously wanting to bury himself in the snow to deal with how much he’s blushing right now.

Foggy hesitates for a moment before he drops his hands and claps Matt once on the shoulder, gently.

“Because I care about you, buddy,” he says. “Now, put on a jacket before I put it on for you.”

There isn’t a lot that Matt wouldn’t do for Foggy—something that Foggy either hasn’t realized or isn’t interested in exploring, because a lot of those things involve his mouth and parts of Foggy’s body—so he finds the warmest articles of clothes that he owns and also pointedly ignores that they originally belonged to Foggy.

—-

“Do you really think that it’s a good idea to strap knives to your blind friend’s feet?” Matt asks.

“It’s called ice skating, you drama queen,” Foggy says, clearly happy with himself, finishing lacing up Matt’s skates for him and patting him on his knee. “You’ll love it. Just trust me.”

“If I break a leg, I’ll never trust you again,” Matt says. “That’s going to undo a lot of emotional labor on your part.”

“If you break a leg, I will carry you everywhere until it’s healed,” Foggy says. “Lovingly, like a bride.”

The first five minutes or so of ice skating are terrible and wobbly and then Foggy asks kind of tentatively if he can hold Matt’s hand and help him and Matt gives him a shady look and says, “. . .okay, fine.”

It gets better after that.

—-

“You’re smiling,” Foggy says, when they’re bundled up on a bench drinking cocoa.

“Politely,” Matt says, smiling wider. “I’m humoring you.”

“Sure,” Foggy says. “You’re not having any fun, then?”

“Nope,” Matt says.

Foggy leans into Matt more, resting his head on his shoulder, and Matt can read body language well enough to know that it’s okay to put his arm around him. Friends touch each other and that’s normal, even if the body heat situation feels kind of harrowing.

“I’m having a really good time,” he admits, softly, a few minutes later.

“I had no idea,” Foggy says, turning so he can hug Matt instead.

—-

“We have ice skated,” Foggy says, when they’re walking arm and arm through the park, “we have imbibed the traditional drink of the season, we have made snow angels which I agree was not a great time—I’d recommend a snow ball fight but I guess I’d have an unfair advantage there.”

“I. . .don’t know about that,” Matt says.

“. . .oh, is this like that thing where you’re magically great at beer pong?” Foggy asks, sounding excited.

“That’s just the power of God and prayer,” Matt says. “With this, I’m pretty sure I can hit you as long as you keep making noise. Which I don’t think will be a problem for you.”

“Wow, okay, take your glasses off, Murdock,” Foggy says, laughing. “Let’s fight.”

Foggy definitely isn’t taking him seriously until he takes a snowball square in the forehead and then it becomes a brief and passionate war before Foggy abandons his side to tackle Matt to the ground.

“Ow,” Matt says, laughing so hard he can’t catch his breath.

“I give,” Foggy says, sitting on top of him, straddling his thighs. “You are the snow ball champ.”

“Do I win something?” Matt asks, smiling up at him.

Foggy barely hesitates before he’s leaning down to kiss Matt on the mouth softly, just once, lingering there for long enough that Matt can come to his senses and pull him down into a real kiss.

“Please take me home,” he says, gasping for air when they take a break. “I’m not going to do that again until I’m warm and there are blankets involved.”

Foggy kisses him one more time before he gets to his feet and pulls Matt up with him.

“Blankets?” he says.

“Don’t you think this would be better in a bed?” Matt asks, smiling hesitantly, “and maybe. . .out of these wet clothes?”

“Oh my god,” Foggy says, taking Matt’s face in his hands and kissing him again before tugging him back toward the sidewalk. “I thought I was introducing you to the wonder of winter and now you’re taking things to a whole new level. Let's go.”

[reidingdays]

the first 3 minutes of zugzwang: an ESSAY nobody asked for and i mean an essay the english student really jumped out on this one lads

this scene is arguably the best acting i’ve seen matthew gray gubler ever do and it’s JUST HIM STANDING IN A PARK

so we start in a park, there’s soft music and to me it sounds academic and whimsical, optimistic like you’ve got all the world’s puzzles to explore and endless time to do it in. it’s something straight out of a beautiful mind. it’s autumn, warm colours abound and the cosy vibes continue as spencer’s in good spirits and a warm jacket

he looks happy!!! peaceful!! content!!! treasure that with me, will you

the music reaches a higher key as he dials maeve’s number and he’s making little chhhh chhh chuu noises, singing his own song under his breath in his own little world, the picture of ease, as he calls and immediately hangs up to let her know it’s only him, not her stalker. his movements are light and fluid and given his aversion to technology and germs he doesn’t falter once as he dials on this very public phone box

he sighs because he’s done this a thousand times over but it’s not a sad sigh. it seems kind of like acceptance, as if he’s made peace with the situation and he’s in it for the long haul. it's simply routine. he instinctively - subconsciously?? - reaches for his satchel like a safety blanket, like a reminding reassurance that this is working, she’s safe, and he looks EXCITED while awaiting her call back

he even walks a few steps away, shoves his hands in his pockets, turns away from the phone box, because he knows she’ll call back. there’s no anxiety there, no pressure to stare at the thing until it rings. he trusts her. as he looks around the park he continues the chhh chh chhhh noises, admiring the scene passively among nose scrunches because this is just another liminal space, another random phone box, on his journey to be with maeve

when the phone rings, boy damn near gives himself WHIPLASH look at that hair flip!!!! majestic!!! he couldn’t care LESS about the beautiful park he wants to talk to maeve!!

after he practically dives on top of the phone box, he answers with a jaunty lil “hellooOOOoOO!!” and just look at the mischief on that there face. his eyes are squinted because he’s ready to tease and debate obscure literary theories. there’s the hint of a smirk. he’s playful, ready and willing to hang on her every word, and then the happy whimsical walk in the park music CUTS OUT

CUTS RIGHT OUT

in literally 0.03 seconds his face goes from mischevious lil puppy!!!!!!! to oh shit this isn’t right this isn’t maeve. a collect call from adam worth means danger. his head snaps up, there’s tension in his neck how the hell and his eyebrows are pulled down, eyes wider and can’t focus on anything, BOTH hands clutching the phone and pressing it so close to his face as if doing that could help him concentrate

the operator tells him to pay 2 dollars to hear the call and he freezes then JERKS his body back from the abyss his mind is so clearly spiraling down, like he has to remind his limbs to work. he smacks his arm against the phone box but doesn’t even register it. my bet is he whacked his funny bone and we all know that hurts like the DICKENS and there's still zero reaction. his pain is irrelevant. his breathing is loud and ragged, offbeat and unnerving against the Dramatic Violins, he scrabbles through his satchel with absolutely no regard for it at all because it’s in the WAY, hair falls in his face, then he just RIPS the bag off his person like it’s rubbish

tips out its contents like a man possessed. we’re talking books on books on books. and spencer loves books.

it’s a desperate bid to find enough change to pay for the call. like this guy is a germaphobe. he’s on his KNEES in a public park on a well trodden footpath with a manky phone still glued to his ear, all his possessions are now covered in god knows what, his beloved satchel is cast aside like litter, he’s not even looking at where is hand is in germ city because he’s staring the phone box out in case, knowing his luck, it sets on fire

all his movements are frantic and jagged and, yes, spencer isn’t known for being a swan but he’s also not a jerky marionette. he staggers upright and shoves his change into the phone box, impatiently pushes his hair out of his face to no avail and he’s blinking like five times more than before

the intonation of “hello i’m still here” OH GOD it is spoken completely monotone which is beyond out of character, going to show just how!!! unnerved!!!! he is!!!! happy joyful jaunty hellooOOoOs are long forgotten. he doesn’t have time for emotion which again is SO UNSETTLING THIS IS SPENCER REID KING OF EMOTION. the next scene with hotch is when he allows emotion to seep back into his voice, but right now, alone and responsible, he has to block it out. each word is rushed together to get them out faster the SECOND the call connects and when it does, we hear zugzwang. he steadies himself with another breath and not to be as Dramatic as the violins but his eyes go hard?? because he knows the meaning of that word and infers bad things are about to happen because bad things just follow him around.

he looks up because how the hell can this be happening WE WERE SO CAREFUL. he almost definitely thought through every potential threat and every precaution made wasn’t enough. his entire face screams desperation, denial, guilt, what the fuck. it’s like he gives himself one split second of panic, pain, doubt and fear but then he shuts it out. you can see his brain kick back in when he asks “sorry can you please repeat that?” in order to engage with whoever this is because maybe that will help? because being polite and soft spoken is his strength AND ALWAYS WILL BE (i digress). but the reply is another zugzwang. farewell happy peaceful and content spencer you lasted literally 21 seconds

and then he pulls THIS face out of his arsenal and you just know spencer isn’t going to get a happy ending because he never does and what better way to destroy the character development of both spencer and maeve, the woman that was created simply to be murdered and SCENE

[thinktosee]

GAY RIGHTS APPLICATIONS DENIED (ONCE MORE) IN SINGAPORE

A. OPENER

“You pretend! Like you’re so perfect, so godly, but…you’re fake. You are fake.

Religion, what does that even mean to you?....What do your values stand for?....Traditions, culture, all that bullshit and for what?

I stay with my values! I stay with what I believe in! I might be a sinner, but I’m not fake! I know who I am………

But you don’t get to change me. You don’t get to change who I am……

You are hypocrites!”  

  - 16 year old Scott, to his parents, in David’s award-winning play, “Piety.” (1)

B. INTRODUCTION

This post underscores the on-going struggle and dilemma concerning the status and scope relating to the freedom of expression in general, and of the rights or lack thereof, in particular, of the LGBTQI community in Singapore. The following links to reports by U.S. Government and international human rights organizations are informative in so far as they offer a glimpse of the state of civil rights, and the level of respect accorded towards the dignity of our fellow human being in Singapore :

1. https://www.hrw.org/asia/singapore

2. https://www.amnesty.org/en/countries/asia-and-the-pacific/singapore/

3. https://rsf.org/en/singapore

4. https://www.state.gov/wp-content/uploads/2020/02/SINGAPORE-2019-HUMAN-RIGHTS-REPORT.pdf

On Mar 30th, 2020, the high court of singapore ruled in favour of staying a colonial-era law criminalizing consensual sex between men. (2) The law in question, dating to 1938, specifically states  : 

“Outrages on decency

377A : Any male person who, in public or private, commits, or abets the commission of, or procures or attempts to procure the commission by any male person of, any act of gross decency with another male person, shall be punished with imprisonment for a term which may extend to 2 years.” (3)

There were three applications to the court to re-instate personal and constitutional rights, which were legally denied or removed since 1938 at least, from a specific group or community of individuals – homosexual men. (4), (5)

The high court’s opinion regretfully and clearly goes against natural law, which may be defined as follows :

“Natural law can be discovered by reason alone and applies to all people, while divine law can be discovered only through God’s special revelation and applies only to those to whom it is revealed and whom God specifically indicates are to be bound.” (6)

C. CONCLUSIONS OF THE COURT

It appears the court addressed the challenges by the plaintiffs from a standpoint of the supreme rights of society or a seeming majority, against the mores, behaviour and or expressions of a minority community or individual. It is as simple as that, if we discarded all the obfuscating legal jargon. The rights of the individual to life, liberty, freedom, expression and beliefs were unfortunately not exhaustively explored to evince an outcome which is both judicious and acceptable to our conscience.  

Here are excerpts of the court’s conclusions on case histories from India, United States and Hong Kong. International or universal law in this matter, seems to have little relevance in the Singaporean context :

“As I have suggested earlier, this conception of proportionality should be viewed as distinct from traditional principles of judicial review. While the Indian courts may have adopted such an approach, the Singaporean courts have made clear that we continue to subscribe to the traditional principles of judicial review.” (7)

“The willingness of the US courts to review the legitimacy of a statute, as well as its implications, would again be at odds with the reluctance of the Singapore judiciary to address extra-legal arguments.” (8)

“Singapore, however, has not adopted the ICCPR. (9) As such the decision in Yau Yuk Lung is less relevant to our context.” (10)

“A similar point may be made in addressing Navtej, where the Supreme Court of India ruled that the criminalisation of male homosexual conduct violates, among other rights, the right to freedom of expression. (11) I am unable to agree with the reasoning of the Indian Supreme Court given that the court appeared to have accepted a wider meaning of what constitutes “expression”, extending beyond verbal communication of ideas, opinions or beliefs.” (12)

Here’s a conclusion of the court, which in this writer’s opinion, is a Catch-22, really :  

“As a starting point, it must be emphasised that Dr. Tan was taking issue with the enforcement of s377A, as opposed to the constitutionality of s377A itself. These issues are separate and distinct. The manner in which a provision is enforced, even if arbitrary, cannot, without more, result in the provision itself being rendered unconstitutional. The appropriate recourse in such a situation would be to seek administrative review, not constitutional review.” (13)

D. INDIVIDUAL vs SOCIETAL RIGHTS

Individual rights long preceded societal rights. The latter, are in most cases, gained through the diminution of individual rights, or through the theory and practice of the “common good.” That being said, the theory also holds that when a bill or provision is to be considered by the legislature, its adoption, if ever, should be proportional to that which it is intended to regulate (14). This was addressed by the Indian, U.S. and HK examples cited in the foregoing. The law must never be onerously discriminating, harmful or disadvantageous to the society, community or individual. The Singaporean court however, relied disproportionately on what it deemed to be overriding local societal mores, which it apparently equated with supreme rights, a conflation which goes against the grain of justice. Hence, its decision against the applications of the plaintiffs. Without the benefit of a city-wide referendum on s377A, how confident are we really about this societal justification for upholding an unjust law as s377A? And speaking of this unjust law, our words to the Archbishop may help us to differentiate how particularly unjust it  truly is :

“Any law which wilfully discriminates, isolates, targets, inflicts pain or injury upon, suppresses, denies or eliminates the natural and or individual rights of anyone or group is inherently and morally reprehensible. Such law has no place in our home, school, religious institution and society. It is a law of abuse and FEAR. An abuse and fear of a defenceless individual or minority group. An abuse and fear of a community of citizens.”

-         Our “Open letter to the Archbishop, Singapore”, dated Sep 27, 2018 : 

https://thinktosee.tumblr.com/post/178506731468/open-letter-to-the-archbishop-singapore

Finally, to get back to the missing piece – nowhere in the court’s judgement did natural law make an appearance. Or if it did, I for one, missed it. It is as if its applicability is inconsistent with Singaporean jurisprudence. This method evokes, for me at least, a poem by John Donne (1572-1631). (15)  It has relevance to the matter at hand as we shall see :

For Whom the Bell Tolls (16)

No man is an island,

Entire of itself.

Each is a piece of the continent,

A part of the main.

If a clod be washed away by the sea,

Europe is the less.

As well as if a promontory were.

As well as if a manor of thine own

Or of thine friend’s were.

Each man’s death diminishes me,

For I am involved in mankind.

Therefore, send not to know

For whom the bell tolls,

It tolls for thee. 

The title of the poem, “For Whom the Bell Tolls”, was adopted by Ernest Hemingway (1899-1961) for his novel, centring on the Spanish Civil War (1936-39) and the rise of fascism. Hemingway was awarded the Nobel Prize for Literature in 1954. (17)

Quote may be sourced in : “50 years of Hemingway Criticism”, p217. Author - Peter L. Hays, Scarecrow Press, 2014

E. CONCLUSION

Human rights are sacred, as John Donne alludes in his poem about the universality of humanity. We cannot and should not, deny to others, that which has been our collective and shared inheritance. Compassion is never a dirty word. 

The Singaporean court has, despite its most learned applications, failed in this  sacred duty to right a gross injustice to a law-abiding and respectable community of citizens. For this, the bell continues to toll for everyone in Singapore, and the world.

“You accept it. You accept that you cannot have everything your way. And perhaps, that’s just what makes life worth living, perhaps, that’s its beauty. Everyone has a culture. Everyone has a tradition. It’s just not always clear.”

-         Final act, by Scott’s mother, in David’s award-winning play, “Piety.” David was 16 years when he received the award.   

BE YOURSELF!

In the Spirit of David Cornelius Singh

www.thinktosee.tumblr.com

Sources/References

1. Act III of “Piety.” Published as a compendium by the organizer, Theatreworks in 2014/2015. David’s family plans to re-publish as a stand-alone in due time, in furtherance of his creative works and legacy. 

2. https://www.nytimes.com/2020/03/30/world/asia/singapores-gay-sex-court.html

3. https://sso.agc.gov.sg/Act/PC1871?ProvIds=pr377A-

4. https://www.livelaw.in/pdf_upload/pdf_upload-371997.pdf

5. https://www.supremecourt.gov.sg/news/case-summaries/ong-ming-johnson-v-attorney-general-and-other-matters-2020-sghc-63

6. https://plato.stanford.edu/entries/locke-political/

7.  https://www.livelaw.in/pdf_upload/pdf_upload-371997.pdf  -  221-223, p73-74

8.  Ibid. 226-228, p74

9. https://www.ohchr.org/en/professionalinterest/pages/ccpr.aspx  - came into force in 1976

10. https://www.livelaw.in/pdf_upload/pdf_upload-371997.pdf  - 229-236, p76-78

11. https://globalfreedomofexpression.columbia.edu/cases/navtej-singh-johar-v-union-india/

12. https://www.livelaw.in/pdf_upload/pdf_upload-371997.pdf  - 262, p87

13. Ibid. 287, p94-95

14. https://www.doj.gov.hk/eng/public/basiclaw/basic15_2.pdf

15. https://literarydevices.net/john-donne/

16. http://www.yourdailypoem.com/listpoem.jsp?poem_id=2118

17. https://www.nobelprize.org/prizes/literature/1954/summary/

[tkv2ad]

Chance the Rapper’s rise to prominence like many aspiring rappers has been undeniably rocky and tough. In fact, he compiled his first mixtape, 10 Day, during high school when he was suspended. But it was this seemingly faltering path that would serve to cement Chance’s name in the legacy of rap music. Personally, I believe Chance’s music adds a new dimension to rap beyond the glorified commodities of sex, wealth, and/or violence. Chance’s conversational tone and eclectic musical influences coupled with his social commentary presents a more popular and recognizable exploration of his environment. This unique but simple style makes his music popular and widely-renowned; a familiar subject and range of musical techniques engages and connects the audience to him and his message. To understand his messages and stylistic tools that enhance his popularity and music, I will be exploring his three primary mixtapes: 10 Day, Acid Rap, and Coloring Book.

As mentioned previously, Chance recorded his first full-length project, 10 Day, while in detention for smoking weed. One song that jumps out at me from this mixtape is Nostalgia. As the title suggests, Chance raps about his childhood, nostalgic, infusing a sort of sentimental vibe that is reminiscent of Kanye West’s College Dropout. The beat, by itself, is quite simple but the addition of the flute and background music gives the song a more ‘50s feel, which in my opinion enables the song to connect to a wider array of the audience with its antiquated but refined touch. In addition, it helps, in terms of its popular appeal, too when its subject is something that all of us has experience at one point – reminiscence of childhood. An example of this fond remembrance can be seen in a pretty relatable few lines of the second verse,

I used to chill with the kids next door, And SpongeBob came around 'bout four, And then I’d hang with Bart’s guys, Around the bend was Smart Guy.

Another song from 10 Day that hits home with me and probably with most listeners is Hey Ma. With Chance popularly known as the prodigy of Kanye West, there is no doubt that this song is reminiscent of Kanye’s Hey Mamma, a similar tribute to his mother. What makes these two songs so popular include the vocal backdrops, which add a nice diversion from the typical monotonous beat and flow, as well as varying instrumental sounds such as the trumpet, which help to encapsulate a wider array of musical sounds and influences. Most importantly, though, are the songs’ messages that have a universal appeal – an unmistakable appreciation for mothers. Quite clearly can this gratitude be seen in the hook of the song,

I wanna scream so loud for you, cause I'm so proud of you Let me tell you what I'm about to do, (Hey Mama) You know I love you so I never let you go Wrote this song just so you know Nowhere you go our love is true.

I think Missing You from the same mixtape really propels Chance’s reputation as a rapper with a social activist agenda; an agenda that has gained traction and notice from members of society as influential as former President Barack Obama. On account of such recognition, Chance has seen has popularity surge recently as such issues have become the forefront of media and political agenda. Specifically, in the song, Chance talks about his friend Rodney who was stabbed and killed right in front of him. The song continues to rap about violence in Chicago. Coupled with the dark and menacing beat, the lyrics which delve into the sentimental and personal effects of such violence create a haunting message that brushes the emotional core of listeners. This is appropriately described in the first verse quite passionately by Chance,

Brown boys are dying, and none of ‘em were for business And all of em' love they mommas, and all of they mommas miss 'em And this shit is just stupid, this shit is fucking senseless The news shouldn't support it, this shit is getting expensive

Despite 10 Day being Chance’s first mixtape, it was actually Chance’s second mixtape, Acid Rap, that propelled him to stardom and gave him nation-wide recognition. This mixtape really strengthens Chance’s ability to utilize a wide-ranging musical repertoire to popular effect. In addition, this mixtape solidifies Chance’s presence in the national discussion of inner city violence but also gives him the platform to express positivity and hope about the future of the situation and the city of Chicago (Barnes). Something interesting to note is that, according to Chance, he was on acid for about 30 percent of his songs. Being under the influence of such a drug allows for limitless introspection – something that Chance utilizes to full effect successfully.

A great example of his ingenuity and creativity as an artist can be seen in Acid Rain from Acid Rap, which is personally one of my favorite songs and arguably one of the most heartfelt songs of the mixtape. In the song, Chance reflects upon the violence in Chicago by drawing on shootings that have resulted in the deaths of many children. Quite honestly, the lyrics are quite heartbreaking which help to fracture the barrier between him and the audience; lyrics that describe something so devastating elicit a sympathetic response that unifies peoples against injustices. Chance expounds upon these injustices by invoking specific instances of the children of Chicago killed from gun violence. For example, in the main verse, Chance mocks the online onlookers (i.e. the general public),

Funerals for little girls, is that appealing to you? From your cubicle desktop, what a beautiful view

He continues to talk about basketball players who had a future but tragically had that taken away from them as a result of gang violence,

For future hoopers dead from Rugers Shooting through the empty alley Could've threw him an alley-oop Helping him do good in school

One particular being within the song that shadows over Chance throughout the entire mixtape is his friend Rodney Kyles, who is described in the song quite hauntingly,

My big homie died young; just turned older than him I seen it happen, I seen it happen, I see it always He still be screaming, I see his demons in empty hallways

Despite the song only retaining a solemn, mellow beat – atypical of his other songs which have eclectic musical influences – it is the overall message, taking a stance against violence and crime, that is not only true to its time but also universally understood, which contribute to its popularity among individuals of society.  

Another song from the mixtape that encapsulates the musical essence of Chance and is personally my second favorite of 10 Day is Cocoa Butter Kisses. The song, similar to Hey Mamma, is a tribute to his mother. Essentially, he is reminiscing on the days when he used to receive soft kisses from his mother that tasted like her cocoa butter cream. However, this is no longer the case because of his age and smoking/drug habits, which have caused his mother to avoid kissing him due to his “stank” and loss of innocence. What makes this song so musically profound is the structure and style of rapping of Vic Mensa and Twista, who are featured in the song. The layout of the two other rappers can be seen to represent the devolution of rap styles. Chance’s part is more conversational and a little choppy, which helps with the comprehension of his lyrics. Vic Mensa’s part has a little more flow and a little more up tempo. Twista’s part is a lot faster comparable to artists of yesteryears such as Busta Rhymes but is till successfully incorporated into the song in that it still retains the overall rhythm and flows well with the beat and the background music. Encompassing such different styles of rap adds to the appeal of the song, which enhances its popularity.

Chance’s third mixtape, Coloring Book, is personally my favorite mixtape. The mixtape enters a level of its own with its deeply personal lyrics as well diversified musical sounds. One of my favorite songs from the album is All Night featuring Knox Fortune. What really sets this song apart from the others is its unique style that is reminiscent of the Chicago house style of the mid to late 1980s: the popping beat and electronic-esque sounds.

One song in the mixtape that is arguably one of its most profound is Blessings featuring Saba. The song is soulful and incorporates black gospel in the background. This song explores Chance’s relationship with God quite artistically by touching on the Black Lives Matter Movement and the birth of his daughter. His allusion to the Black Lives Matter Movement can be seen in the following lines,

Jesus' black life ain't matter, I know I talked to his daddy Said you the man of the house now, look out for your family … His appreciation for him being blessed with a daughter can be seen here,   I know the difference in blessings and worldly possessions Like my ex girl getting pregnant And her becoming my everything

Once again, Chance blows us away with his orchestration of sounds that entail Black culture while embedding his political and social beliefs on issues that pertain to Black lives. As Starr and Waterman describe when discussing about the advent of rock and roll music, “styles that had previously remained on the margins of pop music from a marketing standpoint now began to infiltrate and eventually to dominate the center completely”. Chance has taken grasp of the peripheral musical styles that have become antiquated and has it used to great effect; examples include classic soul, juke, gospel, blues-rock, drill, acid jazz, house (Starr and Waterman). For this case, Chance has revitalized gospel and soul music successfully. This gives him so much wider a platform to appeal popularly with which he can utilize for change.

Overall, it is Chance’s diversification of musical sounds and reflections upon life that make him truly a great rapper. Be it rapping about his mother or childhood or even national movements or shifts, Chance does it so artfully and effectively; this is what makes him such a popular artist and rightfully so.

Works Cited

Barnes, Tom. "How Chance the Rapper Went From High School Fuckup to One of Chicago's Elite Artists." Mic. Mic Network Inc., 29 Dec. 2015. Web. 10 Feb. 2017.