“I don’t sit around with my friends and talk about money, ever. On a record, that’s different.”

Your job is to inspire people from your neighborhood to get out.

My mom always taught me – you know, little boys listen to their moms too much – that whatever you put into something is what you’re going to get out of it.

I was an artist, I was executive producer on my first album, so I’ve always had to manage both. I couldn’t get a record deal. It wasn’t by choice – I couldn’t get a record deal, so I had to figure it out.

I have inherited two of the most important brands in hip-hop, Def Jam and Roc-A-Fella. Reid and Universal Music Group have given me the opportunity to manage the companies I have contributed to my whole career. I feel this is a giant step for me and the entire artist community.

You can feel when something’s authentic, and you can feel when it’s not: you know when someone’s trying to make the club record, or trying to make the girl record, or trying to make the thug record. It’s none of that. It’s just my emotions.

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.

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’m a mirror. If you’re cool with me, I’m cool with you, and the exchange starts. What you see is what you reflect. If you don’t like what you see, then you’ve done something. If I’m standoffish, that’s because you are.

Around 20. I’d been trying to transition from the streets to the music business, but I would make demos and then quit for six months. And I started to realize that I couldn’t be successful until I let the street life go.

The burden of poverty isn’t just that you don’t always have the things you need, it’s the feeling of being embarrassed every day of your life, and you’d do anything to lift that burden.

I was talking about in slang, and it was something that people in the music business was not really privy to. They didn’t understand totally what I was saying or what I was talking about.

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.’

I learned to ride a ten-speed when I was 4 or 5. My uncle gave me the bike, hand-me-down, and everyone used to stare at me riding up and down this block. I was too short to reach the pedals, so I put my legs through the V of the frame. I was famous. The little kid who could ride the ten-speed.

If you look at my career and you look at the span of my work and the things I have done, as far as to garner fame, you’ll see that I have turned down more interviews than I do. Or I turn down more things than I do.

As kids, we didn’t complain about being poor; we talked about how rich we were going to be and made moves to get the lifestyle we aspired to by any means we could.