With Chance The Rapper's upcoming project, 3, scheduled to arrive this Friday, and Lin-Manuel Miranda's Broadway show, Hamilton, fetching $1,000 USD a ticket on the resale market, it seems quite apropos that Complex has chosen the duo to grace the cover of their June/July issue.

Although a Broadway star and a buzzing rapper seem like the antithesis of one another, the subject matter of Miranda's play and Chance's own thoughts on having "one shot" to achieve his dreams - a major theme of the show - make the interplay between the two quite natural.

While a choice excerpt appears below, head here to read the entire piece.

Legacy is also a huge theme in the play. Do you think about how people will remember you 50 years from now?

C: I’d say it’s very forward. Everything you write as an artist is about your legacy and your catalog, and how you would look in a museum.

LM: So many of my lyrical heroes died way too young, so legacy is prevalent on my mind, particularly in terms of hip-hop. Big Pun only had two albums—one real album and one posthumous—but he recorded guest verses every day. There’s 60-some-odd guest verses because he was just like, “That’s the thing I’ve got to do.” So in terms of my own writing, I only think of trying to get the work done. If I don’t write it down, it’s stuck in my brain. That’s how I think of legacy—I’ve got to get it out of my head or out of my heart, because no one else will do it for me.

What are you willing to sacrifice for your legacy?

C: My father always told me that my legacy would be my children. And I think the most important thing about creating is the way that your music interacts with people, and the period that it’s released in, and the periods that will have it after your death, and how it’ll work in the world. My favorite piece from Hamilton is “Dear Theodosia,” which is…. [Turns to Miranda] Can I talk about the play?

LM: [Laughs.] Yeah, do whatever you want.

C: The first verse is Aaron Burr talking to his daughter, and the song is so dope to me because it’s obviously a song about fatherhood, but they’re speaking about building this brand-new nation and building a new world for their children and their children’s children. Literally though—a brand-new America. There’s still not a lot of hospitals or banks; they’re figuring out forms of currency; they’re still fighting the Brits.

I like to think of my music the same way because a lot of my stuff is about my ideal world, and how I want things to function. I have a daughter who’s going to be raised in this world, and my music and my art are powerful tools in getting that to be formed the way I want it to. So I guess when we talk about legacy, I would do anything to make sure that my legacy lives on and is a healthy one, but I still look at it a little differently. I don’t think the legacy of the music is necessarily what I think about when I think of mine.