"This is just the beginning of an entire new mentality about how to make music ... If you ever see anyone standing next to me, know that they're better than me at something."
-Kanye West, at listening party for Yeezus
Behind Kanye’s Mask
[...] And you know you hit your shots.
Yeah — you put me on the team. So I’m going to use my platform to tell people that they’re not being fair. Anytime I’ve had a big thing that’s ever pierced and cut across the Internet, it was a fight for justice. Justice. And when you say justice, it doesn’t have to be war. Justice could just be clearing a path for people to dream properly. It could be clearing a path to make it fair within the arena that I play. You know, if Michael Jordan can scream at the refs, me as Kanye West, as the Michael Jordan of music, can go and say, “This is wrong.”
But that is something that you apologized for. [Taylor Swift]
Yeah, I think that I have like, faltered, you know, as a human. My message isn’t perfectly defined. I have, as a human being, fallen to peer pressure.
So that was a situation in which you gave in to peer pressure to apologize?
So if you had a choice between taking back the original action or taking back the apology, you’d take back the apology?
You know what? I can answer that, but I’m — I’m just — not afraid, but I know that would be such a distraction. It’s such a strong thing, and people have such a strong feeling about it. “Dark Fantasy” was my long, backhanded apology. You know how people give a backhanded compliment? It was a backhanded apology. It was like, all these raps, all these sonic acrobatics. I was like: “Let me show you guys what I can do, and please accept me back. You want to have me on your shelves.”
That’s fascinating, to look at that record through that lens.
I don’t have some type of romantic relationship with the public. I’m like, the anti-celebrity, and my music comes from a place of being anti. That was the album where I gave people what they wanted. I don’t think that at that point, with my relationship with the public and with skeptical buyers, that I could’ve done “Black Skinhead” [from “Yeezus]
Do you feel like “808s” is the album of yours that has had the most impact?
There are people who have figured out the exact, you know, Kanye West formula, the mix between “Graduation” and “808s,” and were able to become more successful at it. “Stronger” was the first, like, dance-rap song that resonated to that level, and then “808s” was the first album of that kind, you know? It was the first, like, black new wave album. I didn’t realize I was new wave until this project. Thus my connection with [the graphic designer] Peter Saville, with Raf Simons, with high-end fashion, with minor chords. I hadn’t heard new wave! But I am a black new wave artist.
But producing happened for you first, especially after Jay-Z used you so heavily on “The Blueprint.”
I used to have tracks that sounded like Timbaland; I had tracks that sounded like [DJ Premier]. But Jay-Z was an amazing communicator that made the soul sound extremely popular. And because I could make the soul sound in my sleep, it finally gave me a platform to put the message that my parents put inside of me and that Dead Prez helped to get out of me and Mos Def and [Talib] Kweli, they helped to get out of me: I was able to put it, sloppily rap it, on top of the platform that Jay-Z had created for me.
Before, when I wanted to rap, my raps sounded like a bit like Cam’ron; they sounded a bit like Mase; they sounded a bit like Jay-Z or whoever. And it wasn’t until I hung out with Dead Prez and understood how to make, you know, raps with a message sound cool that I was able to just write “All Falls Down” in 15 minutes.
Is that true?
Yeah, that’s how I discovered my style. I was just hanging out with them all the time in New York. I would produce for them. You know, I was able to slip past everything with a pink polo, but I am Dead Prez. And now, because I was able to slip past, I have a responsibility at all times.
I wonder if you see things in a more race-aware way now, later in your career, than you did then. The intensity of the feelings on “Watch the Throne” is much sharper.
No, it’s just being able to articulate yourself better. “All Falls Down” is the same [stuff]. I mean, I am my father’s son. I’m my mother’s child. That’s how I was raised. I am in the lineage of Gil Scott-Heron, great activist-type artists. But I’m also in the lineage of a Miles Davis — you know, that liked nice things also.
Did you think differently about family after your mother passed?
Yeah, because my mother was — you know, I have family, but I was with my mother 80 percent of the time. My mom was basically — [pause]
Was your family.
Yeah, that’s all I have to say about that.
What thoughts do you have about parenthood?
That is a really interesting, powerful question. One of the things was just to be protective, that I would do anything to protect my child or my child’s mother. As simple as that.
Have you ever felt as fiercely protective over anything as you are feeling now about those things?
I don’t want to explain too much into what my thoughts on, you know, fatherhood are, because I’ve not fully developed those thoughts yet. I don’t have a kid yet.
You haven’t experienced it yet.
Yeah. Well, I just don’t want to talk to America about my family. Like, this is my baby. This isn’t America’s baby.
His records did used to say “reduced by Rick Rubin.”
For him, it’s really just inside of him. I’m still just a kid learning about minimalism, and he’s a master of it. It’s just really such a blessing, to be able to work with him. I want to say that after working with Rick, it humbled me to realize why I hadn’t — even though I produced “Watch the Throne”; even though I produced “Dark Fantasy” — why I hadn’t won Album of the Year yet.
This album is moments that I haven’t done before, like just my voice and drums. What people call a rant — but put it next to just a drumbeat, and it cuts to the level of, like, Run-D.M.C. or KRS-One. The last record I can remember — and I’m going to name records that you’ll think are cheesy — but like, J-Kwon, “Tipsy.” People would think that’s like a lower-quality, less intellectual form of hip-hop, but that’s always my No. 1. There’s no opera sounds on this new album, you know what I mean? It’s just like, super low-bit. I’m still, like, slightly a snob, but I completely removed my snob heaven songs; I just removed them altogether.
On this album, the way that it emphasizes bass and texture, you’re privileging the body, and that’s not snobby.
Yeah, it’s like trap and drill and house. I knew that I wanted to have a deep Chicago influence on this album, and I would listen to like, old Chicago house. I think that even “Black Skinhead” could border on house, “On Sight” sounds like acid house, and then “I Am a God” obviously sounds, like, super house.
Yeah, visceral, tribal. I’m just trying to cut away all the — you know, it’s even like what we talk about with clothing and fashion, that sometimes all that gets in the way. You even see the way I dress now is so super straight.
One of the things that you’ve thrived on over the years is sort of a self-conception as an outsider, that you’re fighting your way in. Do you still, in this moment, feel like that?
No, I don’t think I feel like that anymore. I feel like I don’t want to be inside anymore. Like, I uninvited myself.
I think just more actual self-realization and self-belief. The longer your ‘gevity is, the more confidence you build. The idea of Kanye and vanity are like, synonymous. But I’ve put myself in a lot of places where a vain person wouldn’t put themselves in. Like what’s vanity about wearing a kilt?
But there’s vanity in fashion. You make clothes, but some people think it’s a vanity project, that you don’t take it seriously.
But the passion is for humanity. The passion is for people. The passion is for the 18-year-old version of myself. The passion is for the kids at my shows. I need to do more. I need to be able to give people more of what they want that currently is behind a glass. I don’t believe that it’s luxury to go into a store and not be able to afford something. I believe luxury is to be able to go into a store and be able to afford something.
I sat down with a clothing guy that I won’t mention, but hopefully if he reads this article, he knows it’s him and knows that out of respect, I didn’t mention his name: this guy, he questioned me before I left his office:, “If you’ve done this, this, and this, why haven’t you gone further in fashion?” And I say, “I’m learning.” But ultimately, this guy that was talking to me doesn’t make Christmas presents, meaning that nobody was asking for his [stuff] as a Christmas present. If you don’t make Christmas presents, meaning making something that’s so emotionally connected to people, don’t talk to me.
Respect my trendsetting.
Yeah, respect my trendsetting abilities. Once that happens, everyone wins. The world wins; fresh kids win; creatives win; the company wins.
I think what Kanye West is going to mean is something similar to what Steve Jobs means. I am undoubtedly, you know, Steve of Internet, downtown, fashion, culture. Period. By a long jump. I honestly feel that because Steve has passed, you know, it’s like when Biggie passed and Jay-Z was allowed to become Jay-Z.
I’ve been connected to the most culturally important albums of the past four years, the most influential artists of the past ten years. You have like, Steve Jobs, Walt Disney, Henry Ford, Howard Hughes, Nicolas Ghesquière, Anna Wintour, David Stern.
I think that’s a responsibility that I have, to push possibilities, to show people: “This is the level that things could be at.” So when you get something that has the name Kanye West on it, it’s supposed to be pushing the furthest possibilities. I will be the leader of a company that ends up being worth billions of dollars, because I got the answers. I understand culture. I am the nucleus. (source)