Before Kanye West transformed into the hip-hop deity that is Yeezus, he was the pink polo-wearing, Louis Vuitton backpack-rocking sidekick to the larger-than-life Jay Z. Remember that? Kanye actually played second fiddle for a significant portion of his illustrious career, doing the behind-the-scenes production work for Jay Z and Roc-A-Fella Records’ associated acts. Their relationship quickly evolved into one of the most legendary big/little brother relationships in music history, each using the other’s respective prowess to benefit his own career. Now, as Kanye is positioned as a top dog not only in rap, but also in music history altogether, it’s his turn to introduce the world to the new Robin to his Batman: a 23-year-old fellow Chicago South Sider named Chancelor Bennett — more popularly, Chance the Rapper.
The Chance and Kanye relationship draws immediate flashbacks to the early Kanye and Jay Z dynamic duo. Kanye’s first major recognition came from his production on Jay Z’s 2001 classic, The Blueprint, on which a then-24-year-old West received a writing or production credit on five of the album’s tracks, including the hidden song “Girls, Girls, Girls, Pt. 2.” Let’s fast forward 15 years later and take a look at the list of credits for The Life of Pablo, on which Bennett earned himself writing or production credits on, you guessed it, five of the album’s 18 tracks (conspiracy theorists do with this what you will). One of those five credits comes from the instant classic “Ultralight Beam,” which the duo performed on Saturday Night Live, as Kanye reveled in Chance absolutely slaughtering the live rendition of an early favorite for best verse of 2016. West had that same smile Jay Z must have had when he realized Kanye would soon be not just a name, but also a cultural icon.
Chance also loves to mention his now-close proximity to West the way a younger Kanye used to enjoy continually shouting out his Hova ties. In 2009, Kanye featured on a remix to Beyoncé’s “Ego”: “Now I’m standing next to Jay, who standing next to B/ You coulda been anywhere in the world/ But you’re here with me.” In 2016, Chance’s show-stealing verse on Macklemore’s “Need to Know” makes sure to highlight the certain individual whom he now finds himself rocking with: “Indian giver, black father, white liar/ Right next to Yeezy like Mike Myers.” The line is a reference to Kanye’s notorious appearance on the 2005 A Concert for Hurricane Relief, during which Yeezy went off-script while on-screen with Mike Myers to deliver the infamous line “George Bush doesn’t care about black people.” Chance is self-aware and realizes he is indeed under one of the most esteemed wings possible, one that can only maximize his own flight.
With the Kanye-Chance love affair still being in relative infancy, it will be fascinating to see whether or not the two acclaimed artists can continue the fruitful partnership. Part of the power behind the Jay Z and Kanye relationship is that it still exists. They’re two alpha-male personalities, but it appears they both understand their importance to each other’s careers. Chance is still on the rise as an artist, and as his fame and acclaim continue to escalate, a clash of egos could very well put an end to the promising musical pairing. However, Chance and Kanye’s relationship seems relatively preordained, as the two Chicago South Siders both turned indie movements into mainstream mainstays. So 10 years from now, when we take note from Chance and look on over at Lil Chano from 79th, let’s hope that a nearly 50-year-old Kanye West is standing right beside him in some sort of futuristic fashion too complex and innovative for my simple mind to currently fathom.
