Top 1200 Commercial Music Quotes & Sayings

I never intended to become a commercial filmmaker in the first place. What I do requires time and experimentation. Commercial work is often not the best way to get the most innovative work, because it's about money and marketing. Although advertising is now embracing non-commercial people.

I had a style before I was signed, but now I'm developing my commercial sound as well as trying to strike a balance between authentic music and music that the masses will love.

Commercial music, for the most part, is popular music and you always have to keep that in mind.

[Commercial radio] is owned by one or two corporations now, and they're not in the music business. They're in the advertising business.... So let's not kid ourselves. If you want to hear music, go buy a guitar.

I naturally make commercial music: it's never been a calculated decision to make pop music. I'm a genuine pop music fan.

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 enjoy music that is commercial.

I'm trying to fuse popular and commercial music and just make very creative music. It's popular music: it's everything for everybody.

It's great to bring urban music to the commercial scene.

The joy of music should never be interrupted by a commercial.

When you are a commercial music artist, your music depends on your popularity.

My first commercial ever was a Dr. Pepper commercial. And then I did a Mountain Dew commercial. A lot of soft drinks.

The commercial music world which I had been a part of for so many years lost its sparkle. My focus became the creation of music which would slow down the brainwaves, so inducing a state similar to when we mediate.

I seriously hate pop music and all things super-commercial.

I'm singing the music publisher's theme song - it ain't a commercial.

When I started to write music that was completely divorced from any sort of idea of commercial success, the real me started to come out. Normally, a musician in a session for a pop record would have to discard a lot of ideas because they won't fit, because they're not commercial.

Generally, we tend to believe that royalty is only for mainstream Hindi commercial cinema music and maybe some popular ghazal singer or pop singer but we never think that classical music is played at so many places.

I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.

Mainstream media would convince you that there's commercial culture and that's all - but this other music is still here.

Commercial music is music that a lot of people connect to at the same time, but that doesn't mean it has to be something shallow or without personality.

I really do listen to all types of music, not only rock, but everything from good pop music - which is usually older pop music - to RB and indie rock. I love indie rock more than a lot of the commercial stuff that you'd expect.

I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.

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.

Tampon commercial, detergent commercial, maxi pad commercial, windex commercial - you'd think all women do is clean and bleed.

I know that my music is heard a lot in commercial circles. In academia, I think my music is taken in differently but I'm not sure why that is. Some kind of sixth sense tells me that people in that world are thinking differently about it. I don't know if it has to do with the structure of my music, which is probably more apparent to those in the academic world than it is in the commercial world, where people tend not to think of that aspect of music so much. They just listen for pure enjoyment.

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'm very pro-Israel. In fact, I was the head of the Israeli Day Parade a number of years ago, I did a commercial for [Benjamin] Netanyahu when he was getting elected, he asked me to do a commercial for him, I did a commercial for him.

With 'Acoustic Soul,' I saw my music as sparse. But I didn't do that because I was making a commitment to be commercial. That's what made 'Acoustic Soul' so difficult to produce. It took 2 1/2 years because I couldn't figure out what I wanted and still be commercial.

Commercial rock 'n' roll music is a brutalization of the stream of contemporary Negro church music an obscene looting of a cultural expression.

I love making music and I've always been doing that, I just didn't make it commercial.

Back then people closed their eyes and listened to music. Today there's a lot of images that go with the music. A lot of music is crap and it's all commercial and the images are all trying to sell the record.

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 give up on pop music. As far as a commercial entity, as far as pop music goes, I quit; I absolutely throw in the towel. I can't handle it. I can't do it. I can't be what they need you to be.

I think some people record songs and make records a certain way to cater to radio. If you're born to make commercial music that's cool. But if you're born to not make commercial records, maybe you're meant to cater to another market.

Black music has become a commercial commodity. Live performances are not so accessible as they were previously. It use to be possible to go to the bar on the corner and hear music. It was available for a fifteen cent beer.

I'm scared to death to fly commercial I have not flown commercial since 9/11.

By some curious mischance, a couple of my plays managed to hit an area where commercial success was feasible. But it's wrong to think I'm a commercial playwright who has somehow ceased his proper function. I have always been the same thing - which is not a commercial playwright. I'm not after the brass ring.

I don't think that three minutes of music on a commercial record is going to bring paradise, but I feel like there is power in music and power in our words and power in what we put out into the world.

I got hit up for a tampon commercial and so I asked [JD and Jo] if they had anything. Jo sent that over and I was like, "I love this track. Oh my god. It's so upbeat. It's so positive. It would be so great for a tampon commercial." That commercial never came through, so then I just had it. I was like, "That would be great for a Hillary [Clinton] song." I think it's so funny that it could be a tampon commercial.

I'm a commercial artist, both in music and art.

In a way, all recorded music is reduced to the same level, no matter what it is. You find it in the store, you put it on and, "Oh, that's not cool. That's gangsta rap. That's white supremacist punk." But in a way, the content is removed from the intention of the people that made it. That's the commercial level of music.

You can't steal an artist's songs and also tell him he can't license that music to a commercial.

I'm scared to death to fly commercial... I have not flown commercial since 9/11.

I'm a commercial director; I do some very very commercial stuff in the commercial world. My music videos are always analyzed. I need to think about what the audience is going to think.

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.

I have done a Hamburger Helper commercial, a Hardees commercial, a McDonalds commercial. American Express commercial.

And my idols in music videos are people like Michel Gondry and Spike Jonze and Johnathan Glazer and David Fincher and that's always kind of been my reference point in music video and commercial directors.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

We do not let our music get used in commercials for commercial products.

There is music out there that is commercially driven, whether you like it or not. That's a peculiarly American innovation. We innovated the commercial music business.

The world thinks that music is a commercial commodity. I'm glad that is not my code.

Commercial record has never interested me. It's amazing I was in a band like The Police that had such phenomenal commercial success. Part of what made The Police what it was was that we didn't all come in with obvious mainstream musical tastes. We were a rock band and somehow we had to make rock music, but it was informed by a lot of things outside of the mainstream for sure.

I really do listen to all types of music, not only rock, but everything from good pop music - which is usually older pop music - to R&B and indie rock. I love indie rock more than a lot of the commercial stuff that you'd expect.

I love commercial music! I can dissect it and criticize it with any critic in the business. But without any thought, I just enjoy it. It's folk music. That's what I'm doing, folk music. I'm not intellectualizing it . . . and making it into a phoney art form. I'm just doing the music I enjoy.

The only thing that exists to me is commercial pop music.

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.

One of the first jobs I did was a commercial, a local commercial on the Chinese channel here in Los Angeles, and the whole thing was in Cantonese, I think, and I didn't have any lines, but I was kind of the focus of the commercial.

Whatever you do has to be commercial and it can't be too distracting - it has to be background music, basically.

I was asked to do a test commercial shoot for an Apple product which didn't mean much to me at the time. Some music player that holds all your songs. Sounded cool to me and I never gave up an opportunity to work, especially with the possibility of it turning into a national commercial. Coolest job I did in that time.

I am perfectly aware of my position in commercial music.