Mathew Knowles Quotes

I'm still involved in the business of Cheap Trick, so I keep my eye on that kind of stuff.

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.'

I basically was in charge of the Jackson 5 - all their creative, when it came down to the studio, and all their musical endeavors.

Artist development is something that I've been passionate about from my days at Uptown and Motown Records.

When I finished Westlife, we had - Louie Walsh is still managing me - I was lucky to have options from different labels such as Sony and Universal. When we met Capitol and Nick Raphael, I just believed in them the most, and it looked like they believed in me the most.

Jay-Z ain't a manager; he owns a management company. He been through this; he been through the game for a long time, so he knows tactics in taking artists in certain directions we need to go in.

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.

Eighty per cent of my time is spent on paperwork, hiring musicians, putting bands together, setting up concerts, and 20 per cent is spent on the music. That's the part that you really enjoy, but you can't afford to spend 80 per cent on your music; otherwise, it's not going to happen.

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 realized how important it was to have a good team - manager, attorney and label. It's not just about putting out a record and somebody signing you.

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

A lot of artists still will not get that far. And get that far and be as successful. So, it's a great thing for me, and hopefully I can make it to number 10. And then I would want to start managing other artists, 'cause I think the best manager is an artist, his, or herself, that has been in the business and been successful and knows the ins and outs of the business.

I've waited so long to get to this point, and I'm so happy to be making my first album. I want to be a performer and an entertainer.

On the artist side, we made a significant investment in very young artists from the very beginning of their careers and helped them become global superstars.

Part of the mission of Nash Icon is taking away some of the day-to-day, hand-to-hand combat that you have to do to continue the mainstream country-radio relationship.

My manager, my band members, we're all good friends. You need that because a lot of times an artist will be so sheltered he will lose touch with what the fans want.

A lot of bands have an unfortunate past; we've dodged a lot of bullets when it comes to that.

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.

The larger the band gets, the more people from the label get involved.

If we'd had a Svengali manager and done what we would have been told, maybe we would have had a bigger, more hugely successful career.

We as label executives, we have to know the limitations of the artists.

The way I do that is to keep coming up with good songs and when I do a concert, I make sure I give a good performance. It's not rocket science.

I was Jazzy Jeff's assistant.

When a record company makes a mistake, the artist pays for it. When a manager makes a mistake, the artist pays for it. When the artist makes a mistake, the artist pays for it.