Scott Borchetta Quotes

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It's such a loud world out there, so it's important to be able to be ubiquitous across formats.

The reality of recording, it's one of the most intimate things that an artist ever does because if you do it right, you're exposing yourself, and you're expressing your emotions, and those are the key attributes to a big record that really connect with people.

It doesn't matter if it's social media or radio media or television media - it's all media, and it's all marketing. It's about understanding where your fans are. And when you have infiltrated them, and they're satisfied, and there's demand, how do you grow it from there?

I think when we do our job right, our artists don't sound like anybody else. I have a real hard time with voices that sound like other big voices.

I don't want to worry about someone calling me and going, 'You better find a way to get another Taylor Swift record out this quarter.' When there's that kind of financial pressure dictating your path, it's hard to take creative risks.

I go by the rule of Gretzky: you gotta be there before the puck gets there, or you're going to get beat.

Season 1 of CTV's 'The Launch' exceeded our wildest expectations!

If we don't have great music, we're not any company.

What's on the edge? What's next? That's where I think I do my best work - if I push my whole team to the edge.

There's no reason people should be hungry in our country. It's not acceptable.

The last thing we want is for radio to say that they can't afford to play our artists and turn off the pipe.

I grew up in the San Fernando Valley of Southern California in the 1970s. My friends and I were into bicycle motocross and into skateboarding in empty swimming pools. Those activities shaped my generation.

My father was in record promotion in Los Angeles. He worked for Mercury Records, Capitol Records, and RCA Records. My parents divorced when I was about 9. In 1978, my dad moved to Nashville and opened an independent record promotion company, Mike Borchetta Promotions.

I attended College of the Canyons in Santa Clarita, Calif., for a year, but college wasn't for me. I was curious about life beyond Los Angeles.

In 1985, I went to work for MTM Records, Mary Tyler Moore's Nashville record label, and stayed three years. After that, I spent two years as an independent promoter, then worked for MCA Nashville Records, DreamWorks Nashville, and Universal Music Nashville.

When you break an artist, you learn a lot.

I grew up in Southern California, so there is just a part of me that is a Hollywood rocker.

You can have all personality in the world, the looks, etc., but if you don't have the songs, it doesn't close the deal.

If you think back to the beginning of the label, we knew we had to strike quickly and aggressively and go for the brass ring.

Auto racing has been a big part of my life since I was very young. When the car feels right, it's like, 'We've got a big machine.'

For the label to grow, it has to have great executives who understand the culture, understand the mission, and can lead. I don't want to be part of every decision.

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.

The nicest thing that my friends who've known me for 15 or 20 years say to me is, 'Man, it's crazy that you're the same guy.' It's like, 'Which guy did you expect me to be?'

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