Kanye West’s third album, Graduation, is currently the Billboard Chart’s No. 1 album and the history behind its phenomenal success is equally dramatic.
When the CD was released three weeks ago, a music video for his third single, “The Good Life” was also released. It was directed by electronic artist/musician So-Me.
In working with So-Me on the video, West formally accepted electronic into the hip-hop and rap genres. Electronic is a growing trend in hip-hop and rap, but West’s use of it may catapult electronic as a staple of hip-hop and rap. However, this transition was a difficult one.
In November 2006, West lost the award for best music video at the European MTV Awards. The award went to Justice, a French underground electronic duo, for the pair’s music video “We Are Your Friends.” Although the song was the result of a remix competition Justice lost, it quickly became a European underground club hit.
Justice and its independent French label Ed Banger Records became overnight stars on the European club scene and with American hipsters.
The most interesting fact about this scenario is that Justice made the video with So-Me and now West is using So-Me in his work.
What is even more ironic is that West, realizing he had lost the award, stormed on stage shouting, “This video cost a million dollars, man! If I don’t win, the award show loses credibility.”
Then, this past spring, West dropped a mix tape that included a clip of the single “Stronger.” The song featured a sample from the acclaimed electronic group Daft Punk despite West’s anti-electronic outburst at the awards show.
At first it may have seemed like a simple music venture, but the liaison was much more complicated. Daft Punk’s manager, French DJ Busy P, owns Ed Banger Records the record label Justice and So-Me both work for.
This past July, West embraced the electronic genre by standing in So-Me’s DJ booth at the Los Angeles nightclub Cinespace. It appeared that West was warming up to the hipster electronic scene.
West was not only accepting So-Me as an artist by hiring him to direct the video for “The Good Life,” he let the video include So-Me’s trademark pastel drawings.
Some say that West is just adapting to the changing scene while others think West is buying his competition. Either way, when West changes his style, the rap and hip-hop genre follows.
West’s change of heart is a microcosm of the hip-hop and rap world’s attitude toward electronic. First meeting it with fear and hostility, and then coming to accept it as respectable source of music in the production of hip hop and rap.
The record sales for Graduation prove that against all odds, West has finally established a lasting bond between the rap, hip hop, and electronic genres.
