Top 66 Quotes & Sayings by Michael Rapino

Dave Matthews, Tim McGraw, U2, The Rolling Stones - there are a lot of artists selling out stadiums around the world that we work with regularly. And end up making most of our money with those artists.

No matter where the price of gas is, the consumer's still got to get out. They've still got to save their money to go see Tim McGraw.

Every city's got a famous rib place or coffeehouse or dessert place.

EDM is here to stay. If you're 19 years old, this is your rock 'n' roll.

There's always a fine line between 'What is the market going to bear?' and, 'By the way, I've got 2,000 unsold seats.'

It's a very competitive market. AEG has a ticketing platform, Stubhub has grown their marketshare, Vivid has come out of nowhere. It's not like venues don't have options. If you're a venue you can pick any ticket platform you want, and we have to provide a better product and win that business fair and square.

Everyone loves to criticize Ticketmaster, but the real asset of Ticketmaster is that it's the third-largest e-commerce site in America.

I'm an introvert by nature.

Live is truly a unique entertainment form; it cannot be duplicated and creates lifetime memories that fans are craving more than ever in this experience economy.

Our job is to build a company for the future that can meet the demands of the artist and fan of the future.

I got lucky when I was a teenager when we were booking bands at university. Those gigs were the greatest two hours in my life and there was nothing else I wanted to do. I knew my passion early, which is always the tough part of life, figuring out what makes you tick.

I'm known for having a very small to-do list and a big don't-do list.

We need to bring down service fees, become much more transparent and regain trust from consumers.

We believe being in long-term, deeper relationships with artists is a great strategy, we will be 100% pursuing it. There has never been a debate with Michael Cohl as to whether we should be in the Madonna business or be in long-term relationships, or be in more rights with artists.

The better job we do of getting the right fans in the right seats at the right time, the more money our clients are going to make.

I've met plenty of CMOs in life, and I always say that I've never met any that can hold a candle to rock stars, who I truly believe are the greatest brand managers in the world.

Going into 2010, we didn't expect the consumer pullback that happened. We all thought that the theory that concerts are recession-proof was true.

Our job is we work for the artist and we service the artists fans. And the better service and the better company we can provide for the artist, the better job we can do for the fans, from flexibility in selling to lower service fees.

We have not had a ton of innovation and marketing in the concert industry, much like the record industry. We have been a fairly old-school business compared to Coca-Cola and the big packaging/marketing companies.

To be the music company of the future, you have to figure out a way to be a great business and distribution partner of younger bands, midsized bands, and ones that break out, like Arcade Fire.

The concert industry lags dramatically behind the great hospitality businesses out there, whether they're theme parks or hotels or sporting events.

In the U.S., we were slow to evolve and build a festival capability.

A hit is a hit, and when you have a hit great things happen.

Rihanna can sell just as many tickets in Cape Town as she can in Detroit.

My kids, my health and my job are all equally important.

Part of calling ourselves Live Nation was about starting to shift the way we think, to be first and foremost fan-focused.

We believe that the Internet is the live concert promoters best friend although it might have crippled the record label business.

At a very young age in Canada, I had mapped out that my mission in life and my passion was live events.

We do a big business with our midsized-venue model. We don't need bands to be on the top-ten charts to make money.

Clinging to old ways and fighting change is not the answer.

You look at the Rolling Stones. It had the lips, the logo and the style. You look at Jay-Z, who I think is probably the smartest brand marketer I've ever met. These people understand the core of what their brand is and what their fans want.

A promoter needs to be in the e-commerce ticketing business. In a fundamental sense the promoter's job is to buy a show and go and market and sell the tickets.

As an industry, YouTube and digital content have a huge upside to creation and virally reach fans, and there's a multi-billion dollar business of advertising attached to that.

In my business, the cheaper the ticket price the better. I'd love for more consumers to walk into an amphitheater, park, have a beer and eat a hot dog. There's no advantage to me to have anything but sold-out shows.

Hosting over 35,000 concerts and festivals each year, Live Nation has the opportunity and responsibility to provide our artists and fans with a live music experience that protects our planet. The adverse effects of climate change are undeniable, and we want to use our place on the world stage to be part of the solution.

It's cheaper to buy and use and place ads on Facebook than it is to buy print and radio.

The touring business is obviously critical to selling records, building fan bases, selling T-shirts, fulfilling sponsorship commitments.

Madonna would not have done a 360 deal with us just because of our touring capability. We had to prove to her and others that we have been working on and built a very good execution capacity at Artist Nation.

History has shown that even in a recession, consumers go to shows.

Drake has become a mega-star, with sell-out crowds around the world.

To be a great concert marketer, we are shifting our focus from traditional media to online and mobile as direct ways to reach consumers.

Our business model rises or falls on our ability to serve the artists. If others can do it better, the artists will go elsewhere.

Vice has done a great job at talking to millennials.

In early days of Live Nation, we really believed it was important to be a direct-to-consumer business, which the labels aren't and no promoter was at the time. By merging with Ticketmaster, we could we give the artist a direct relationship with the fan.

Bono. He still is somebody who, and I don't say I'm starstruck in that sense, I'm always in awe of. It doesn't matter how many times I've been with him, he's still an exceptional man that continually inspires me in many ways in life.

We can't say to a Ticketmaster venue that says they want to use a different ticketing platform, 'If you do that, we won't put shows in your building.'

Calling the new company Live Nation Entertainment is a big statement. Let's make sure we send a strong message from the first investor call.

Corporate America couldn't be more excited about the demise of the record companies.

Adding C3, the leading festival portfolio in North America, to our global portfolio of Insomniac, Festival Republic and Country Nation provides Live Nation with the world's largest festival platform.

House of Blues has soul right down to the chef in the kitchen.

Jay Z is one of the world's preeminent touring artists.

In our business we don't mind if a price of a ticket goes down; our job is to get as many bums in seats as possible.

You'll see an erosion of rock 'n' roll for sure... if you're playing a mainstream festival, you don't want to be the rock guy when everyone else is talking about Swedish House Mafia.

We as an industry need to do a better job of increasing the awareness of the show, decreasing the ticket price, and making it a better experience online to buy tickets.

Jay Z doesn't care if he plays in Paris or Denver, but we do. We make more money in Paris.

BottleRock has these incredible VIP cabins where a chef is preparing sushi for you in your cabin or lounge decorated by Restoration Hardware.

I probably go to 100 shows a year.

One of the strengths of Michael Cohl is he's a big thinker, strategic, great with relationships, artists and big deals.

The biggest cost of my business is competition - promoters bidding against each other to get a tour.

I can hope that the economy gets better, or I can seek a more proactive approach to protect our employees, reward our shareholders and better service artists and fans.