Top 1200 Commercial Music Quotes & Sayings - Page 2

Anytime you look at anything that's considered artistic, there's a commercial world around it: the ballet, opera, any kind of music. It can't exist without it.

When I started making music, I made music in a very commercial space and I didn't have room to really explore things on my own terms. It took me awhile to create a little bubble where I could explore other things, and new things. When I did that, my tools were songwriting and arranging.

I went to a few really bad commercial auditions because I needed the money, and when you booked a commercial, your life was made: you could eat.

I was in a commercial when I was three. My godfather was a director and a producer of commercials. He took me in along with his kids and I couldn't remember my lines. I giggled my way through the commercial and they kept it.

As a matter of fact 25% of our U.S. investment banking business comes out of our commercial bank. So it's a competitive advantage for both the investment bank - which gets a huge volume of business - and the commercial bank because the commercial bank can walk into a company and say, "Oh, if you need X, Y and Z in Japan or China, we can do that for you."

The initial response to 'Yennai Arindhaal' was that it didn't have all the quintessential commercial elements, though I consider it as my most commercial venture.

When I get saturated by commercial films, I'll probably do another film like 'Siskiyaan.' But yes, as a viewer, I really enjoy commercial cinema; so obviously, as an actor, I would love to be a part of one.

Music can save people, but it can't in the commercial way it's being used. It's just too much. It's pollution.

Work in nightclubs was interesting. There were interesting people and places, but by and large, the commercial music experience.

[Commercial] radio is absolutely the enemy of music. They are my sworn and mortal enemy, and I will have nothing to do with them.

I've decided something: Commercial things really do stink. As soon as it becomes commercial for a mass market it really stinks.

I don't really produce so-called commercial pop music so I haven't changed so much. I've been on the one path always.

I am a commercial artist because I paint to earn a living. We who earn money from what we produce are all commercial artists.

Commercial directing felt like a very natural transition from my comedy, sketch, music video directing experience.

I think this song, 'Ioniq,' is the best song for commercial music.

It has nothing to do with commercial success. You cannot calculate in your head how to put the mosaic together to make a commercial film: that's out of the question.

The English practice of accommodating the rules of commercial law to commercial practice. The line of causation ran from economic need to legal response

My first gig was a Corn Pops commercial. I did the first Vanilla Coke campaign. A Juicy Fruit commercial paid my bills for years.

I never do anything to strictly satisfy a fickle, ever-changing commercial world. I do the music I like to play. It's the only way I feel comfortable existing in the industry.

All record companies want big-selling records, and my music is a little too raw for commercial success.

Young women who have experienced commercial sexual exploitation and domestic trafficking face an incredible climb as they try and exit the commercial sex industry and develop to their full potential.

The style of music that we're playing, this progressive metal style, has always been an upstream battle for us. We don't usually get a lot of commercial exposure.

I wasn't really writing with anything commercial in mind I just wanted to create some new music.

Every generation wants to be the last. Every generation hates the next trend in music they can't understand. We hate to give up those reins of our culture. To find our own music playing in elevators. The ballad for our revolution, turned into background music for a television commercial. To find our generation's clothes and hair suddenly retro.

I'm very hands on with my music - I do all the artwork and everything myself - and the songs I write aren't necessarily the most commercial.

My first professional audition - god, I've never told anybody about this - was for a test commercial, I think it was for Xbox. It involved me getting kidnapped by a granny who wanted to play the Xbox. It was very weird and I definitely had no idea what I was doing. I actually got the gig. It wasn't a commercial; it was what directors did when they wanted to show the company what they would do with a commercial.

I remember doing a commercial one time where I stepped on a shard of glass, and I was hobbling around in swimwear. It was raining and in the commercial, when I saw it, I didn't look like I had a messed up foot.

That was the special thing about the Carolina Chocolate Drops. We didn't want to do music full-time. We weren't looking to get rich, which is good, because we didn't. But we went further than we thought we would go. We started that band to celebrate Joe Thompson and the black string band music. That's not really a recipe for commercial success.

When I look at commercial studios, I think, "Oh, they're all so nice and tidy," but it's because they don't actually write music in them.

The first thing that I remember auditioning for was a weather commercial in Boston, and I got the job. The idea of the commercial was that you ought to watch the weather in the morning so that you know what's gonna come later in the day.

I dislike labels like 'commercial' and 'non commercial.'

It's great to have other people's help. Then the music gets heard. There's a lot more commercial support for that now.

The sort of commercial parameters of classical music changed after the [World War II] , and the whole industry became more backward-looking.

In the US, commercial interests stole the airwaves early on, before public broadcasters could get a stab at it. And the deal that was made with public broadcasting was, "Okay, we'll allow there to be a handful of public stations to do the educational programming that commercial broadcasters don't want to do, but the deal is they can't do anything that can generate an audience, anything that's commercially viable." Anything they do that could be commercially viable could be considered unfair competition to commercial interests and should only be on the commercial stations.

I've lost so many gigs composing commercial or television music because I can't repress my inclination to work against conventions.

Commercial to the core, Elvis was the kind of singer dear to the heart of the music business. For him to sing a song was to sell asong. His G clef was a dollar sign.

Pressure is high and jobs are at stake. There is nothing wrong with having commercial music to pitch for those situations, as well as for ad campaigns.

NSS has strongly supported competition in both the NASA Commercial Re-supply Services program and the Commercial Crew program.

Rock became an incredible commercial success, people just became bored with serious music, and it was forgotten.

People told me, 'you can't do intense characters.' Some said 'you look too commercial,' and I would wonder what a 'commercial look' is.

Also, the commercial media in a superior position, really, to any other corporate lobby, because where would people hear about commercial media or corporate media criticism, where would they hear criticism of them other than in the commercial media?

To me, country music is like the blues, but it's something very hip and - I don't want to say commercial - but it's very worldly and good listening.

Music is a spiritual expression of what's in your heart. Music as a way of getting rich is a pretty new thing, and I often wonder if the mega-bucks glitzy atmosphere is making the quality of music suffer. You have to work really hard to get around that and remember why you're in it in the first place: because you have to be. It's like an addiction. You can't go a day without picking up your guitar. To me, the only commercial goals that are really valid are, 'Boy, I wish I didn't have to go to work. I wish I could do this all the time.'

I'm a composer. I know nothing about money and commercial stuff. I just write music.

I really love sharing with young Canadians the changes we're seeing in the space program right now with what we call "commercial space." We have commercial cargo delivery to the space station, and now we have what we call "commercial crew," where we're going to be delivering people to low orbit on new vehicles that are being designed by Boeing and SpaceX.

My music doesn't really sound like punk music, it's acoustic. And it doesn't really sound like folk music 'cause I'm thrashing too hard and emoting a little too much for the sort of introspective, respectful, sort-of folk genre thing. I'm really into punk and folk as music that comes out of communities and is very genuine and very immediate and not commercial.

I make pop music. I make music that is pretty commercial. But, at the same time, I'm a minority within a minority and it can be challenging. I feel validated about what I'm doing when I meet fellow black gay men or black gay women.

It bothers me when I hear it in a car commercial or some such. But for the most part, it's better than seeing sacred music relegated to the scrap heap.

If you're making music, you must want to turn other people on to it, whether you're number one in the charts or number 60. I don't know, that's a commercial thing, but just the fact that other people like you... there's no point in making music, otherwise. Otherwise, you might as well make it in your bedroom and leave it there.

Music, dance sequences, action stunts are key parts in a commercial film but there has to be relatable content as well.

I think the first thing I did when I was a kid was a Maxwell House Coffee commercial with George Strait. And I did a Wrangler Jeans commercial, and then 'The Patriot' came to town.

I grew up on the commercial film format. I have grown up all my life watching films and they have all been mainstream commercial cinema.

I did a regional car commercial and an internet potato chip commercial. I was seriously thinking I needed to quit and get a serious job where I can feed myself and it doesn't kill my soul.

One of the things that defined me is that I spoke in my songs very loudly, the negative messages, and I already managed to dominate commercial music.

One engaged in a commercial pursuit. A commercial pursuit is one in which the thing pursued is a dollar.

My first commercial was an Old Navy commercial where I stood in line in front of a club, and Fran Drescher was in it.

The wireless music box has no imaginable commercial value. Who would pay for a message sent to nobody in particular?

There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.

We both [with Jo Andres] think that it is really important to our culture that we support all kinds of music, all kinds of theatre and all kinds of art because you never know what moves people. We've always believed that there should be a strong voice outside the commercial world. Certainly, the commercial world has a huge place in our culture and we also support that - but, we also want to support the stuff that lives outside of that.

Commercial success won't come to us from a change in the music. It will gradually be the result of a change in the appetite of the audience.