A Quote by Babyface

Commercial music, for the most part, is popular music and you always have to keep that in mind. — © Babyface
Commercial music, for the most part, is popular music and you always have to keep that in mind.
I enjoy music that is commercial. I think that in order for music to be heard in a lot of different situations, you have to always consider that. Commercial music, for the most part, is popular music, and you always have to keep that in mind. It's not so much financial as making sure it gets the shot and is heard on the radio.
I'm trying to fuse popular and commercial music and just make very creative music. It's popular music: it's everything for everybody.
I have always made commercial music. The people who vote for the Grammy nominees are mostly in their 40s and have other jobs or are musicians themselves. They like music that they can relate to - they like commercial music.
I think for me, the only depressing music is music that doesn't give credence to those kinds of feelings, music that's just written for money or commercial reasons. Sad music can be the most uplifting thing in the world.
As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.
We're guys that like to make fun music, music that people like. And I think, for us, it's just important to always keep your mind in the right place and always keep your heart in the place of making music that you love.
Popular music of the last 50 years has failed to keep in step with advances in musical theater, namely Stephen Sondheim. But the two have grown apart so that popular music is based more than ever on a rhythmic grid that is irrelevant in musical theater. In popular music, words matter less and less. Especially now that it's so international, the fewer words the better. While theater music becomes more and more confined to a few blocks in midtown.
Film music is always given a step-motherly treatment though it is the most popular form of music.
I felt very proud to be part of a music scene that was changing the face of commercial music and rock music internationally, but I also felt like it was necessary for Soundgarden - as it was for all of these Seattle bands - to prove that we deserve to be on an international stage, and we weren't just part of a fad that was based on geography.
I didn't get played on radio or TV for 3 years. They all told me the same thing: it was too urban. They don't see grime music as commercial music, but all music is commercial; it's how you make it. That's what I'm trying to say.
The music that was popular in your youth seems to be the music you recall most vividly - and most nostalgically - for the rest of your life. But so is the music that was popular in your parents' youth.
Early American music and early folk music, before the record became popular and before there were pop stars and before there were venues made to present music where people bought tickets, people played music in the community, and it was much more part of a fabric of everyday life. I call that music 'root music.'
In rap, as in most popular lyrics, a very low standard is set for rhyme; but this was not always the case with popular music.
I feel a vocabulary in my music that is coming from popular music. Popular music is like the mother of all languages.
I am trying to encourage kids to do something that isn’t yet on their mind because it is not in popular culture. Popular culture tells you 'music, music, sports, sports.' It neglects the importance of a STEM education.
For me, personally, the most interesting music comes from the popular sector - from film and pop music - since contemporary classical music got stuck and went into directions where it lost a lot of the public by over-intellectualizing.
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