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.

Hip-hop has done more for race relations than most cultural icons; and I say save Martin Luther King, because his 'I Have A Dream' speech was realized when Obama was elected into office.

Hip-hop is more about attaining wealth. People respect success. They respect big. They don't even have to like your music. If you're big enough, people are drawn to you.

For me, being with Obama or having dinner with Bill Clinton... it's crazy. It's mind-blowing, because where I come from is just another world. We were just ignored by politicians - by America in general.

Successful people have a bigger fear of failure than people who've never done anything because if you haven't been successful, then you don't know how it feels to lose it all.

When I came into the music, I was forced to be a CEO. I was forced to be an entrepreneur; I was forced to... because I was looking for a deal. I didn't have this grand scheme of starting a record company and then morphing into a clothing empire.

One of the reasons inequality gets so deep in this country is that everyone wants to be rich. That's the American ideal. Poor people don't like talking about poverty because even though they might live in the projects surrounded by other poor people and have, like, ten dollars in the bank they don't like to think of themselves as poor.

I've talked to Bill Clinton - he's the ultimate rock star; no one's more charming than him. People clap in a restaurant when he finishes dinner! I don't get that treatment. I get it when I walk onstage, but not when I have dinner.

I was a really good student. In the sixth grade, I was reading at a twelfth grade reading level. But I got bored.

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 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.

I try to make music with emotion and integrity. And authenticity. 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 didn't go to many movies. My mom would make a family outing and bring chicken in the theater. Smell up the whole place. The most impactful movies were 'Godfather II' and 'Scarface'. I loved the human complexity, and those movies are so well shot. Cinematic greatness. I really stopped going in my early twenties.

Growing up, politics never trickled down to the areas we come from. But people from Obama's camp, and Obama himself, reached out to me and asked for my help on the campaign. We've sat and had dinner, and we've spoken on the phone. He's a very sharp guy. Very charming. Very cool.

I grew up in Marcy Projects in Brooklyn, and my mom and pop had an extensive record collection, so Michael Jackson and Stevie Wonder and all of those sounds and souls of Motown filled the house.

My brands are an extension of me. They're close to me. It's not like running GM, where there's no emotional attachment.

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. 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.

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.

I'm just saying the producers and people who work on music are getting left out - that's when it starts getting criminal. It's like you're working hard, and you're not receiving. In any other business, people would be standing before Congress. They have antitrust laws against this kind of behavior.

My first album was mainly dealing with street issues, and it was 'coded': it was called 'Reasonable Doubt.' So the things I was talking about... 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.

Growing up where I grew up, we looked to athletes. They were our first heroes. They came from the same places we came from. I mean, you can't watch TV and see someone who is successful that you can really relate to. That person isn't real; he doesn't exist. But athletes traveled the world, had these big houses and gave their families a better life.

I'll make a song with Rick Rubin, a song with Beyonce, a song with Lenny Kravitz. I just believe in making good music. I'm not trying to section myself off into just making hard-core rap music.

Everyone's supposed to stay in their lines and be neat. 'You're a rapper. You're supposed to rap, carry a boom box, wear chains, and go to the club - that's all you do. What are you doing collecting art? What are you talking about? Wait a minute, you're getting out of the zone.' People hate when people cross lines.

It was a weird mix of emotions. One day, your best friend could be killed. The day before, you could be celebrating him getting a brand-new bike.

I don't think any rapper can go back. You can be a car salesman, a bank teller - I mean, really good jobs, and people are still gonna look at you and be like, 'You used to rap; what happened?'

When Basquiat was hanging out with Madonna and Fab Five Freddy, and all those worlds were colliding, people have to realize hip-hop and the arts were like this 'cause we both were outcasts: we wasn't allowed inside the galleries or inside Yankee Stadium. We were writing in the street and making music.

'Blueprint 3' is made up of songs, but it's also a commentary on the idea that in order for rap to survive, we have to stretch out the drama. We have to stretch out the audience. It can't be this narrow - we have to stretch out the point of view.

I got love for Damon Dash as I did before. I don't know if we can be around each other in that way because times have changed. He may be a totally different person. I know I'm a different person. But nothing can erase that era, those times, those memories, those fights to get 'Roc-A-fella' where it was.

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.

When the TV version of Annie came on, I was drawn to it. It was the struggle of this poor kid in this environment and how her life changed. It immediately resonated.

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.

I think in London - and I don't wanna offend anybody in America, but this is a real statement - they still have the right approach to making music. In the U.S., people see it as a way to make money; they see it as a means to get out. It's a hustle, which is great - any way you can provide for your family that's legal is fantastic.

I think that's what happened to the record business when 'Napster' came around. The industry rejected what was happening instead of accepting it as change.

Do you know how many athletes go broke three years after they stop playing? I want to help them hold on to their money. I mean, I know about budgets.

I can think of no one more relevant and credible in the hip-hop community to build upon Def Jam's fantastic legacy and move the company into its next groundbreaking era.

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.

Music is everywhere - you consume it every day, everywhere you go. The content creator should be compensated. It's only fair.

I think it's very important for hip-hop, when an artist reaches a certain level, to ascend to executive work.

When you're growing up, your dad is your superhero. Once you've let yourself fall that in love with someone, once you put him on such a high pedestal and he lets you down, you never want to experience that pain again.

I remember the first time I saw the 'Sugarhill Gang' on Soul Train. I was 11 or 12. I was like, 'What's going on? How did those guys get on national TV?' And then, when I was a little older, a rapper from the neighborhood got a record deal. I was shocked.

It's hilarious a lot of times. You have a conversation with someone, and he's like, 'You speak so well!' I'm like, 'What do you mean? Do you understand that's an insult?

The challenge is to get everyone to respect music again, to recognize its value.

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 think reviews have lost a lot of their importance now because of the Internet; everyone is experiencing things at the same time.

I am against discrimination of any kind, but if I make snap judgments, no matter who it's towards, aren't I committing the same sin as someone who profiles?

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.

If just the presence of Tidal causes other companies to have better pay structure or to pay more attention to it moving forward, then we've been successful in one way. So we don't really view them as competitors. As the tide rises, all the boats rise.

That was the greatest trick in music that people ever pulled off, to convince artists that you can't be an artist and make money. I think the people that were making the millions said that. It was almost shameful, especially in rock n' roll.

When you have a reputation for making not only good songs but great albums, that in itself creates added artistic pressure. But, at the end of the day, I guess that pressure is something I welcome.