Kanye West recently sat down with Jon Caramanica of the New York Times for a rare Q&A session that lasted off and on for a period of three days.  Held up in Malibu, California recording studio Shangri-la, Ye has been in the process of finalizing and completing his sixth studio album Yeezus with legendary producer Rick Rubin.  This recent interview comes as a surprise to everyone due to the fact that Kanye has not participated in any for a few year years and has stood firm on his reluctance to do so.  However, Yeezy decides to open up on a number of topics including his upcoming album, past bodies of work like My Beautiful Dark Twisted Fantasy, the MTV incident with Taylor Swift, Yeezus, evolving as an artist and much more.  Check out some excerpts from the article below and click HERE for the full interview.

You’ve won a lot of Grammys.

“[My Beautiful] Dark [Twisted] Fantasy” and “Watch the Throne”: neither was nominated for Album of the Year, and I made both of those in one year. I don’t know if this is statistically right, but I’m assuming I have the most Grammys of anyone my age, but I haven’t won one against a white person.

But the thing is, I don’t care about the Grammys; I just would like for the statistics to be more accurate.

You want the historical record to be right.

Yeah, I don’t want them to rewrite history right in front of us. At least, not on my clock. I really appreciate the moments that I was able to win rap album of the year or whatever. But after a while, it’s like: “Wait a second; this isn’t fair. This is a setup.” I remember when both Gnarls Barkley and Justin [Timberlake] lost for Album of the Year, and I looked at Justin, and I was like: “Do you want me to go onstage for you? You know, do you want me to fight” —

For you.

For what’s right. I am so credible and so influential and so relevant that I will change things. So when the next little girl that wants to be, you know, a musician and give up her anonymity and her voice to express her talent and bring something special to the world, and it’s time for us to roll out and say, “Did this person have the biggest thing of the year?” — that thing is more fair because I was there.

But has that instinct led you astray? Like the Taylor Swift interruption at the MTV Video Music Awards, things like that.

It’s only led me to complete awesomeness at all times. It’s only led me to awesome truth and awesomeness. Beauty, truth, awesomeness. That’s all it is.

A lot happened between “Graduation” and “808s,” obviously: a lot of struggle, a lot of tough things for you. [Mr. West’s mother died in 2007.]

Creative output, you know, is just pain. I’m going to be cliché for a minute and say that great art comes from pain. But also I’d say a bigger statement than that is: Great art comes from great artists. There’s a bunch of people that are hurt that still couldn’t have made the album that was super-polarizing and redefined the sound of radio.

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.

On “Keeping Up With the Kardashians,” there’s a really affectionate scene where you go and help Kim sort through her clothes.

That was from a place of love. It’s hard when people read things in a lot of different ways. You know, the amount of backlash I got from it is when I decided to not be on the show anymore. And it’s not that I have an issue with the show; I just have an issue with the amount of backlash that I get. Because I just see like, an amazing person that I’m in love with that I want to help.

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.

Birthing ‘Yeezus’

One of the things I thought when I heard the new record was, “This is the anti-‘College Dropout.’ ” It feels like you’re shedding skin. Back then, you were like: “I want more sounds. I want more complicated raps. I want all the things.” At what point did that change?

Architecture — you know, this one Corbusier lamp was like, my greatest inspiration. I lived in Paris in this loft space and recorded in my living room, and it just had the worst acoustics possible, but also the songs had to be super simple, because if you turned up some complicated sound and a track with too much bass, it’s not going to work in that space. This is earlier this year. I would go to museums and just like, the Louvre would have a furniture exhibit, and I visited it like, five times, even privately. And I would go see actual Corbusier homes in real life and just talk about, you know, why did they design it? They did like, the biggest glass panes that had ever been done. Like I say, I’m a minimalist in a rapper’s body. It’s cool to bring all those vibes and then eventually come back to Rick [Rubin], because I would always think about Def Jam.