It might be hard to remember this far back, but once upon a time, some of us hoped that public TV would develop into a smart, sophisticated, civilized alternative to commercial TV - not a cheap imitation of it.
It's a cruel, heartless world out there in commercial rock 'n' roll, and when you take as much time off as we did, eight years, booking agents don't know if you'll draw.
Algren: My thanks, on behalf of those who died in the name of better mechanical amusements and commercial opportunities.
When I met Apple, I made it very clear that I am an old punk and I have never done commercials or been sponsored. And I wasn't after their money.
Money's never an issue. I can go and work for a small studio theatre somewhere if it's a play I really care about, or do TV or a big commercial West End show.
I am essentially a hack, a commercial person. If I had a hobby, I would immediately make money on it or abandon it.
Certainly we're going to continue to see those commercials that I call 30-second drive-by shootings. And they're going to have a lot of money to do it. But we're going to combat it.
I've spent over 25 years in the television industry, the direct response industry. I met a lot of people and certainly learned the power of commercials and their brand building potential.
At the time of Polaroid - and I did a couple of other commercials just before I stopped doing that stuff - at that point I was at the level where they respect you and your opinion and all that sort of thing.
A commercial society whose members are essentially ascetic and indifferent in social ritual has to be provided with blueprints and specifications for evoking the right tone for every occasion.
My products and magic are free, but on the commercial side of what I do, the big tech companies are impressed with somebody like me who can emotionalize a piece of technology.
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.
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.
I don't feel as though I've graduated from commercials or music videos. In my mind, they aren't compartmentalised.
I started growing my audience in small clubs through word-of-mouth. I started making music that isn't necessarily commercially viable, and it's not necessarily marketable to my peers to a certain extent.
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 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've heard some tunes in recent years that were pretty close to that same idea. The idea was you turn on the radio and you want to hear some music and up comes a commercial.
Record labels collude with some of the radio stations, and the radio stations have their play lists, dependent upon what they call the, quote, 'hits.' What's commercially viable gets recycled, endlessly repeated, and as a result of that, the progress...
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.
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.
