Top 1200 Commercial Music Quotes & Sayings - Page 3

The tragic effects of terrorism have forced the new-construction industry to re-evaluate traditional methods of fire protection in commercial infrastructures. That includes everything from building codes, to structural design issues and the less durable fireproofing materials currently specified for commercial steel structures.

My policy is not how fast you play, it's not how much you play but it's what you play and where you play it ... play for the commercial side of the music ... the word I still use today is called "simplicity" .. it is so important that you use simplicity in your playing and in your music.

You either have commercial pressure or ideological pressure. I prefer commercial pressure; otherwise, you can be at the mercy of one or two idiots.

The people who were learning from me tended to be more commercial performers who were gonna rip off the salient idea to do it in a way that will sell, but they weren't going for the music.

The commercial space industry owes a huge debt to Patti Grace Smith. There might not be a commercial spaceflight industry were it not for Patti's leadership.

An artist in 2014 who is thinking about album sales is either sadly deluded or has to make so many commercial compromises that it sort of takes the joy out of making music.

I'm hopeful that commercial space exploration will takeoff. To really fuel the spaceflight revolution will require an investment of hundreds of billions of dollars a year, and I think that's only going to happen in the commercial sector - if there are large profits to be made.

There are people that bring artists to me to look at it and it's a question of whether I like their music and their look and if I think there's something they have that makes them different and commercial.

I'm in the position where I don't have to make commercial music to feed myself, so I have the luxury of being more experimental, if that's what I choose to do. I guess I've earned the right by being in the business for a while and paying the dues and taking the lumps.

Those that know me know that I'm not 100% in love with commercial pop music. It's not my preferred genre - I don't do squeaky clean pop.

Having previously graduated from a 2-year commercial arts class, I thought that commercial illustration was the best way to make a living doing art. But the more tattoos that I did, the more I realized what artistic career potential tattooing had and I enjoyed it.

Public radio is the last oasis of free and independent music. For satellite radio channels, you have to subscribe; commercial stations are as corporate as basic cable.

I don't own a gun. I'm a pacifist. I am a critic of commercial gangsta rap music. I don't believe you change people or their flawed perspectives from a distance. You open their minds from up close, when they realize you respect and love them.

I love music, I make films with music, I eat with music, I sleep with music, I think with music. Music makes me dream, it strengthens my creativity.

I don't think too much about how it might exist in the world in a commercial sense - I more just try and focus on making music that I love and trying to put it out into the world.

This thing that I do with caring about the message in my music, it's not separate from my work as a commercial artist; they're totally one and the same. I'm always going to be thinking about what my voice means.

When 'Nevermind' came out, my roommate had the CD. At first, I actually thought, 'This is too polished and commercial.' It was a little off-putting. But then I was like, 'This is the best music ever.' It felt so close to what I wanted to do.

When we got married, we knew our honeymoon was going to be public, anyway, so we decided to use it to make a statement. We sat in bed and talked to reporters for seven days. It was hilarious. In effect, we were doing a commercial for peace on the front page of the papers instead of a commercial for war.

I've just done a commercial in the U.S. in which I talk about stocks, shares and bonds. Everyone is amazed. They ask me: 'You really know about that stuff or did you just learn it for the commercial?' I tell them I wouldn't do it unless I understood and had an interest.

I've tried to avoid the rock & roll highway and have taken the scenic route. I think all the guys have been more concerned with the music and the band's legacy than with the commercial aspects of life.

Nothing is quite honest that is not commercial, but not everything commercial is honest.

It's fair to say that white America wouldn't have elected an African-American president without the integrating effect of black music - from Louis Armstrong to hip-hop - and black drama and fiction, commercial as much as 'serious.'

When reggae was introduced to the world, it was a voice of the oppressed, a music with integrity that you can enjoy holistically. Throughout the years, what has become commercial kind of strayed from the integrity.

My first job in L.A. was actually playing an employee in a Best Buy commercial, but I played a bad employee at another store. I also worked at a commercial casting company running cameras and session directing.

I didn't want to be told what to do. I don't want to water down my music to fit into their formats. I know what rock and roll is to me, but everything's turning into one big commercial.

I think I managed to trick people a little bit into thinking I'm more arty by making creative, artistic, visual work and applying it to commercial music. Maybe. I don't know.

Music is my life. Music runs through my veins. Music inspires me. Music is a part of me. Music is all around us. Music soothes me. Music gives me hope when I lose faith. Music comforts me. Music is my refuge.

I think I gave indications early on that mine wasn't just going to be a commercial, er, career. If that were the case, then the first record would have been 10 versions of 'Loser.' I always thought it would be interesting if there was no such thing as gold and platinum records, or record deals, and people were just making music. What would the music sound like?

The truth is an artist like me who doesn't get the type of promotion that we see more commercial artists receive, and especially in this climate of the music business, you have to be creative about how you promote yourself.

The joy is actually in the music. It's the music that supports you and tells you what to do. It tells you how to fill the music. You don't have to be shy about feeling the music when you're singing. If you believe in music-the power of music-the music will support you and take you to another dimension.

In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.

This one commercial said, "Forget everything you know about slipcovers." So I did, and it was a load off of my mind. Then the commercial tried to sell slipcovers, but I didn't know what they were!

As in biomedical science, pioneering industrial inventions have not been mothered by necessity. Rather, inventions for which there was no commercial use only later became the commercial airplanes, xerography and lasers on which modern society depends.

I'm enamored with the art world. 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.

I love all types of music - jazz, great pop music, world music and folk music - but the music I listen to most is piano music from the 18th, 19th and 20th century. Russian music in particular.

The strategic stimulus to economic development in Schumpeter's analysis is innovation, defined as the commercial or industrial application of something new---a new product, process or method of production, a new market or source of supply, a new form of commercial, business or financial organization.

You see I don't like to be really too commercial about things but in this business you've just got to be commercial otherwise the films don't make money and you don't make films and as a long as a commodity is selling it's silly to kill it dead.

I'm a provincial. I live very much like a hermit: reading, listening to music, working in the cutting room, writing, commercial work - which doesn't take up that much time.

The danger is that the artists who'll put grime into the commercial and public eye will put grime at the back of their closets and jump on another genre of music.

In rap music, even though the element of poetry is very strong, so is the element of the drum, the implication of the dance. Without the beat, its commercial value would certainly be more tenuous.

I love music, I make films with music, I eat with music, I sleep with music, I think with music. Music makes me dream; it strengthens my creativity.

It really doesn't matter whether it's an ensemble cast or it's a lead or what is perceived as a commercial or non-commercial or an offbeat film. None of that would matter, what really matters is the story and who's telling the story.

It took a long time for hip-hop to become commercial. Now there's all these big black icons that came from nowhere to somewhere. Look at Jay-Z! People stopped being threatened by the music and just started to appreciate that it's good.

I'd rather do anything than make commercial art. I didn't go to school for art. Making art has certain advantages for me but they would never be in commercial direction.

Even non-commercial media rely on transferring cost to users through licence fees, donations from listeners, viewers, or readers, or grants from companies and foundations that have wrestled their funds from the public in some form of earlier commercial activity.

At the same time all this was happening, there was a folk song revival movement goingon, so the commercial music industry was actually changed by the Civil Rights Movement.

In many ways, I am very happy about the whole Linux commercial market because the commercial market is doing all these things that I have absolutely zero interest in doing myself.

The success of Watermark surprised me. I never thought of music as something commercial; it was something very personal to me.

I had always loved cartoons, especially 'Bugs Bunny,' and I found I enjoyed making animated films. Even a 30-second commercial involved drawing and painting, storytelling, not to mention actors, music, and sound effects.

Whether they are actual poets or their music exemplifies a poetic sensibility, generally speaking, the Americana artist shuns commercial compromise in favor of a singular vision. Which resonates with me.

I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.

That was a time when I did love music, I couldn't get enough of what was going on. Maybe it was Nirvana that brought me back. I guess it was a comfort because something that sounded so right - and non-commercial - had become so influential, so immediately.

I just listened to regular commercial music from Korea. I would just follow the choreographed dance routines. I didn't have any ambitions of pursuing rapping. I liked dancing, so I did that.

I seriously hate pop music and all things super-commercial, so I'd be hard pressed to feel embarrassed by anything I listen to. Besides, I have a three-year-old, so I don't have time for guilty pleasures anyway!

One clear difference between art and commercial work is that commercial work is exploitive: the work may be high quality but the intention is to sell product or tickets. Art exists with or without ticket sales.

The commercial music video industry is very hard to break into, and until you break in, that first job is the hardest thing in the world to get.

We're not uncomfortable with it, and we've already been through enough of the music business where I'm not really worried that commercial success is going to in some way - we're already past saving, you know what I mean? It's too late for us.

I was in college, and very disappointed. I majored in commercial art and interior design for three or four years. At that time, it seemed the thing I really wanted to do, production design, just wasn't available in the U.K., so I turned to music.

During this period, Japan's peaceful commercial relations were successively obstructed, primarily by the American rupture of commercial relations, and this was a grave threat to the survival of Japan.

A commercial civilization is money-oriented, profit-oriented. Commercial values always tend to wrench a society free of tradition.Economics from education to public service is being reorganized on the self-destructive basis of self-interest.