I was forced to be an artist and a CEO from the beginning, so I was forced to be like a businessman because when I was trying to get a record deal, it was so hard to get a record deal on my own that it was either give up or create my own company.
People are intermingling, hanging out, having fun, enjoying the same music. Hip-hop is not just in the Bronx anymore. It’s worldwide. Everywhere you go, people are listening to hip-hop and partying together. Hip-hop has done that.
By the time I got to record my first album, I was 26, I didn’t need pen or paper – my memory had been trained just to listen to a song, think of the words, and lay them to tape.
We were living in a tough situation, but my mother managed; she juggled. Sometimes we’d pay the light bill, sometimes we paid the phone, sometimes the gas went off.
I would run into the corner store, the bodega, and just grab a paper bag or buy juice – anything just to get a paper bag. And I’d write the words on the paper bag and stuff these ideas in my pocket until I got back. Then I would transfer them into the notebook.
I’ve got a nice collection of paintings – a Basquiat, a black-and-white Warhol that’s like a Rorschach test, and I commissioned Takashi Murakami to do a ten-foot joint for me. It’s almost like the explosion in Hiroshima with his famous skeleton head. There’s a wall above my fireplace reserved for it.
Nothing me and Kanye can do musically was gonna match the event of what we were trying to do. So we were trying to deliver an album and experience at one time; that was the idea for ‘Watch The Throne’.
I don’t profess to be a political rapper, like groups such as ‘Dead Prez’ or ‘Public Enemy’, but I think social commentary should make its way into your music. Speaking on your neighbourhood is social commentary – what happens, what’s going on.
When you’re accustomed to wealth, you don’t show it, right? That’s why the white kids in school could wear bummy sneakers; it’s almost like, ‘Don’t show wealth – that’s crass.’
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