More than once he allows a younger star a spotlight-stealing moment. And thatâ€™s not including the writing credits or samples. This time around he incorporates Chance the Rapper, Rihanna, The Weeknd, and Kid Cudi, to name a small few. And with each album, the list gets longer. Since MBDTF, Kanye has made a point to collaborate. Again, Kanye acts as the master of ceremonies mashing oldies with shiny new talent. â€œFamousâ€ uses Sister Nancyâ€™s â€œBam Bamâ€ to full effect, and the entire track â€œLowlights' gives Kings of Tomorrowâ€™s â€œSo Alive (Acapella)â€ a full two minutes early on. On the eighteen-track album, Kanye maintains his impeccable taste for sampling. Now we have The Life of Pablo to pick apart and criticize for years to come.

Yeezus was a clusterfuck of industrial sounds that still counted as pop music. My Beautiful Dark Twisted Fantasy made it okay to publically be a dick if your craft was good enough, a persona that he has kept. His first few albums inspired a generation of backpack-wearing emotional rappers. Mostly, though, it earns the right because of Kanyeâ€™s previous output. The Life of Pablo demands to be looked at like a modern art piece, partially because of Kanyeâ€™s roll out plan.

And very few of them actually involve the music on The Life of Pablo. Very few of them will matter in two months (hopefully). Plenty has been said about Kanye West over the last two weeks. Both challenge what is acceptable and beautiful within their medium.

All the signs are there: both artists express themselves in creatively fresh ways.

Maybe Kanye West is this generationâ€™s Pablo Picasso.

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