Michael Rapino Quotes

Behind every big artist, there's a big team.

Agents run a business, and their business is their talent; some are more general and broad and can rep a little bit of everything; some are more niche. You have to be specific with who you approach and how.

It's very hard for an artist to negotiate their fees. My job is to act; my manager's job should be to handle the business side of it.

No, I don't have an agent. I'm hoping to get one soon.

You have to keep the business side together as well as the creative side. We have constantly surprised people and stayed with bands until they have grown on people.

My function at Verve was that of a genuine producer in artists and repertoire.

I'm not a good Samaritan, I'm a businessman... The goal is to read and react. If we sign an artist that has potential for a shelf life way out in the distance, then we'll stay. But if not, then we won't.

You get to a point where you really can't manage more artists, because representing artists takes a lot of time.

Kill Rock Stars has a willingness to really work with the artist and to be flexible with what they're doing... part of being an independent artists means having your hands in the business all the time, so they bring in a lot of ideas about it.

I know it is common nowadays for artists to start labels but this is a thoroughly constructed vehicle for inspired talent. This is a market that we've been living, breathing and eating for our entire lives - one where a huge void currently exists. Favored Nations is a long-term commitment.

It's about finding great artists and being part of their careers.

We're in conversations with brands worldwide for a variety of artists every day.

I don't have an agent - I have the William Morris Agency.

The most effective tool I have to work with artists I admire is to point to other artists that I admire and show that I've worked with them many, many times. It's not because I have option deals; it's because they want to keep working with us.

Punjab is central to our business strategy, and we are an active partner in the state's growth.

It could be hectic sometimes when you're being an artist and running a label at the same time. But there are times when you just have to say that this my time period to work on my stuff, and then you say this is the time to concentrate on my artists.

Jimmy Iovine has been telling me since 2012 that I needed to start my own label with my own artists. This was when he first met me and 'Bandz a Make Her Dance' was first taking off.

I never challenged control of the band. Basically, all I did was start asking questions. There's an old adage in Hollywood amongst managers: 'Pay your acts enough money that they don't ask questions.' And I started asking questions.

My A&R at Epic got fired the first week I got signed.

The way it works is the manager's sort of, you know, is like the hub of an artist's career.

I want to have a publishing company and a record label, and I want to manage five artists... eventually.

Artists have to be represented properly and paid properly.

The industry has changed in that it is far more disposable than it used to be. When Boyzone came out, we were given a shot and the patience to record our singles and albums. Nowadays, the thought is if it is not working, then the artist will be dropped. The record companies will bail on the artists, and I find that sad.

When I was 17 years old, Frank DiLeo saw my very first music video and flew to my hometown of Las Vegas to meet with my family and me. Frank told my dad, 'I am coming out of retirement to manage one last big act: Manika.'

WME and IMG both truly understand and value my music and Mosaert's creative visions; they are forward-thinking, all-encompassing, and thoughtful in how they envision me continuing to grow.