Troy Carter Quotes

I think 'Interscope' always puts the artist first, and they're focusing on these artists' development. I felt like that was a part of my career that I kind of needed to focus on after having come from the radio and getting exposure that way. I wanted to grow my brand and grow my fanbase, and they have proven to be the best fit for that.

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

In the late 80s, artists could be signed to labels and be nurtured. It wasn't, "We're going to give you one shot, and if you don't measure up, you're gone".

I can't deny that label-support gave me a leg up - though not every successful artist needs it.

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

I created MMG years ago. My desire was to create a space where the most talented artists in the world could be nurtured and supported. With that came a commitment. I vowed to support these artists through the good and the bad.

I'm transitioning from being a starving artist. My producers had success outside of the Daniel Caesar brand, so they invested money, time and resources. They funded the first video, and a lot of other things that I'm so thankful for.

Here at Z100, we're kind of famous for breaking new artists and watching their careers bloom.

As an artist development platform, we've proven that all the work done behind the scenes at American Idol, along with surviving the rigors of the intense live shows, can properly prepare a winner for a real-world music career opportunity.

It used to be that Nashville would work to develop promising artists.

I find a lot of up-and-coming musicians I enjoy, present them to my viewers - and hopefully inflate the growth of these artists by putting them in front an audience that wouldn't have been aware of them.

History's most treasured musicians were believed in and cultivated to reach their potential. Today, it would be difficult for those musicians to get deals. We have the insight and the tools to identify and bring to fruition the dormant talent that our artists possess.

I will be developing artists for my new label. The rest is in God's Hands.

I am passionate about finding undiscovered and talented artists. I want to help those artists get to the next level and provide existing artists with a new way to reach fans. I wanted to partner with the Cutting Edge Group because they share my vision and have a proven track record in innovation in the music business.

I can say that my big records and my success have been due to the backing which Atlantic have put behind me.

I've always wanted to push someone who's not really known but has mad talent. I don't know if I'm going to do a publishing company or a record label, but I'm interested in pushing artists in any sense.

Sometimes when you get in this game, you think that you're going to take off if you do a song with someone big. But that's not the truth. Everything with you got to be good - the visual, the push, the production.

It used to be that labels would spend two or three or four albums developing a new artist before they threw in the towel and moved on, which kind of gave the artist an opportunity to grow.

As a successful artist it is my job to give the indie scene as much of a push as I can.

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.

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

Asher Roth lived on my couch for six months to build up a following. With Justin Bieber, I moved him and his mother to a town house a block away from me.

What made Andy famous was the years I managed him. I created the Velvet Underground and told him not to worry about them because they would help his career. All those things I did created his fame.

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.'