Quotes About Commercial

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.

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.

Managers all over the world will go crazy when their artists are not touting the party line and making things pretty in the way that they're supposed to, but it's different when your manager is your husband. It's contrary to your soul. That commercial interest presses in upon your whole personal life.

The person who starts out simply with the idea of getting rich won't succeed; you must have a larger ambition. There is no mystery in business success. If you do each day's task successfully, and stay faithfully within these natural operations of commercial laws which I talk so much about, and keep your head clear, you will come out all right.

People have an absolute right to believe what they want to believe and to say what they want to say, and churches have an absolute protection to preach and do and not do whatever they choose to do within their houses of worship. But nondiscrimination laws apply to the commercial marketplace and they do protect all of us.

Let's note, that in what I consider the most disgraceful performance abroad by an American official in my lifetime - something not exampled since Jane Fonda sat on the anti-aircraft gun in Hanoi to be photographed - Mr. McDermott said in effect, not in effect, he said it, we should take Saddam Hussein at his word and not take the President at his word. He said the United States is simply trying to provoke. I mean, why Saddam Hussein doesn't pay commercial time for that advertisement for his policy, I do not know.

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.

Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.

It is no accident that television has been dominated by a handful of corporate powers. Neither is it accidental that television has been used to re-create human beings into a new form that matches the artificial, commercial environment. A conspiracy of technological and economic factors made this inevitable and continue to.

Even while starting out I took things very seriously; I wasn't the sort of kid that would do a doll commercial or do a series for Nickelodeon. They asked me to do silly things, and I wasn't a silly kid.

My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way.... People mistake the character of line for the character of art. But it's really the position of line that's important, or the position of anything, any contrast, not the character of it.

You know, a left-winger, the barrier to success if you're on the left in commercial radio is a mile and a half higher than it is if you're on the right.

Miranda Lambert is actually mixing the singer-songwriter philosophy with the commercial country [mindset]. And I find it just inspiring. My hat's off completely, because she's pulling it off, and I couldn't figure out a way to do it.

In high school, I got picked on. It's funny that I got tormented for what I'm doing now - the acting thing. People would see me in a Nickelodeon commercial, and I would hear about it the next day at school. Kids would say, 'Hi, TV Boy.' They heckled. I never got beat up.

Listen closely. There’s a remote possibility that you might learn something: First, I don’t give a damn if my work is commercial or not…I’m the writer. If what I write is good, then people will read it. That’s why literature exists. An author puts his heart and guts on the page. For your information, a good novel can change the world. Keep that in mind before you attempt to sit down at a typewriter. Never waste time on something you don’t believe in yourself.

The only advice I have for youth is to date outside your race. I just think it's so cute when I see little kids in interracial relationships; it makes me feel like I'm watching a commercial.

This false distance is present everywhere: in spy films, in Godard, in modern advertising, which uses it continually as a cultural allusion. It is not really clear in the end whether this 'cool' smile is the smile of humour or that of commercial complicity. This is also the case with pop, and its smile ultimately encapsulates all its ambiguity: it is not the smile of critical distance, but the smile of collusion

In the mid-fifties, a revolution occurred and a new word entered the vocabulary of commercial art. Concept... But the change was not entirely good. Our gain was also a loss... There was great value in something well observed and carefully delineated. If the head and heart were often absent, there was something to be said for the presence of a hand.

War seems to me to be a mean, contemptible thing: I would rather be hacked in pieces than take part in such an abominable business. And yet so high, in spite of everything, is my opinion of the human race that I believe this bogey would have disappeared long ago, had the sound sense of the nations not been systematically corrupted by commercial and political interests acting through the schools and the Press

Warhol's images made sense to me, although I knew nothing at the time of his background in commercial art. To be honest, I didn't think about him a hell of a lot.

Mostly with commercial work, it isn't about personal vision. It's not a personal effort, it's work for hire. That's more my attitude with those. You just want to be a professional worker.

There are still to be found visionary or designing men, who stand ready to advocate the paradox of perpetual peace between the states, though dismembered and alienated from each other.... The genius of republics, say they, is pacific; the spirit of commerce has a tendency to soften the manners of men, and to extinguish those inflammable humours which have so often kindled into wars. Commercial republics, like ours, will never be disposed to waste themselves in ruinous contentions with each other. They will be governed by mutual interest, and will cultivate a spirit of mutual amity and concord.

Intellectuals love Jefferson and hate markets, and intellectuals write most of the books. Intellectuals often think that they should, for the benefit of mankind, act as fiduciaries for the clods who don't have to be intellectuals, and I suspect that has to do with [why historians love Jefferson and not Hamilton, even though Hamilton's vision of America's commercial future was vastly more accurate than Jefferson's].

If you look at where innovation - defined as ideas, not as commercial product - tends to live, the university system is remarkably innovative.

As a performer you are being used to keep people watching so the commercial endorsements that support the network can be seen by as many people as possible.

I rang my friend Jim Wolfensohn, who was then running a private commercial bank in New York. I said, "Come up to Vancouver", and he did. I put my proposition to him. He said, "I think it could work." I said, "Will you help us?" He said, "Yes." So, I set aside senior people in our treasury and they worked with Wolfensohn and the investment sanctions were applied. And that's what brought the regime down. The last South African Finance Minister, Barend du Plessis, went on record as saying that it was the investment sanctions that put the final nail in the coffin of apartheid.

Most politicians are ever eager to regulate industrial and commercial activity and strike at the economic elite with confiscatory taxation. Unfortunately, regulation and taxation tend to hamper economic activity, inhibit productivity, and depress levels of living.

Before my commercial career, I never played for more than an audience of 99 seats somewhere in downtown New York, but occasionally someone would recognize me in the subway and say, "Oh, I saw you in that play, you were really great in that," or "the director was really something." It becomes a conversation. When people spot me on the street from my work in commercials, there's nowhere for the conversation to go. Obviously I'm an actor and I can't.

I never assumed I would have that commercial success, so it was a total surprise. And honestly, I never assumed that it would ever happen again.

I loved working when I worked at commercial art and they told you what to do and how to do it and all you had to do was correct it and they'd say yes or no. The hard thing is when you have to dream up the tasteless things to do on your own.

I certainly wouldn't want a song that I'd already written to be used on a commercial. That seems strange.

I worry about kids and all they are exposed to. Kids get so bombarded with hard, commercial sounds. They don't even have a chance to develop the softer part of themselves without fear of being ridiculed.

A laborer no longer makes whole articles. He receives raw materials, puts his touch on them, and passes them to another worker in the series. When the articles are quite finished they are carried out of sight by currents of commercial exchange. These currents are untraceable.

Every once in a while a messy character who manifests a REAL body emerges, for instance, Lisbeth Salander - and certainly commercial genre fiction is full of examples of real bodied sexual encounters or violence encounters - but for the most part, and particularly if you are a woman or minority author, your characters' bodies have to fit a kind of norm inside a narrow set of narrative pre-ordained and sanctioned scripts.

All consumption should be local. No food products need to be transported over hundreds of miles to market. All commercial fishing should be abolished. If local communities need to fish the fish should be caught individually by hand. We need to stop flying, stop driving cars, and jetting around on marine recreational vehicles.

More than 60,000 jobs have been lost in the commercial aviation industry in the United States since 1999.

I think that in the realm of commercial, popcorn cinema, the amount of message or smuggling of ideas you can get in there is quite limited. Like, if you think you're going to make a difference or change anything, you're on pretty dangerous thin ice.

Viewers have a way of remembering the celebrity while forgetting the product. I did not know this when I paid Eleanor Roosevelt $35,000 to make a commercial for margarine. She reported that her mail was equally divided. "One half was sad because I had damaged my reputation. The other half was happy because I had damaged my reputation." Not one of my proudest memories.

I hope I am not too old to take it up seriously, nor too stupid about machines to qualify as a commercial pilot. I do not feel like spending the rest of my life writing books that no one will read. It is not as though I wanted to write them.

I've been involved in a lot of different kinds of projects. I've been on straight hip hop tours. I've been on underground rock tours. I've been on multimillion selling rock shows. I've been in the jam band thing, and both commercial and underground hip hop. Very few people listen to one kind of music.

But there's no way round it-commercial success is a mark of failure for a graffiti artist. We're not supposed to be embraced in that way. When you look at how society rewards so many of the wrong people, it's hard not to view financial reimbursement as a badge of self-serving mediocrity.

The only artist who does not deserve respect is the one who works to please the public, for commercial success or for official success.

That's the power of great insights. Insights, not ideas. There's a difference. Ideas, valuable though they may be, are a dime a dozen in business. Insight is much rarer -- and therefore more precious. In the advertising business, a good idea can inspire a great commercial. But a good insight can fuel a thousand ideas, a thousand commercials.

The blurring of fact and fiction has great commercial potential, which is bound to be corrupting in historical terms.

I am excited to think that the development of commercial capabilities to send humans into low Earth orbit will likely result in so many more Earthlings being able to experience the transformative power of space flight.

I try to keep away from being big-headed. That's what causes people to lose the acting thing. They start being commercial, and then they stink for the rest of their lives.

I think if you sing a song for the first time to your mom and dad, or your friends, and they go, 'That's pretty cool'-if you're playing at the local bar somewhere, or the coffee shop, singing songs, or if you have a gig somewhere and you're singing your own songs, I think that's some version of making it. ... It's not just about having commercial success; it's about having a great life.

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