Quotes About Commercialization

Technology is, in many respects, an enabler for an open, transparent society. But it's also an enabler for supervision to a completely unforeseen degree. And for commercialising personal space to an unforeseen degree.

The commercialization of sport is the democratization of sport.

A lot of people are coming down on people taking old rock 'n' roll songs and making commercials out of them, but from a songwriter's standpoint, I don't mind because it helps pay my rent.

Anything in this culture that stands still long enough eventually becomes okay if a person can derive an income from it. Eventually, pay-per-view public execution will happen, and it will be half-time entertainment.

You see artists hailed as a new generation of independents, only to be enlisted to leverage product.

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.

When deep space exploration ramps up, it'll be the corporations that name everything, the IBM Stellar Sphere, the Microsoft Galaxy, Planet Starbucks.

When commercializing disruptive technologies, they found or developed new markets that valued the attributes of the disruptive products, rather than search for a technological breakthrough so that the disruptive product could compete as a sustaining technology in mainstream markets.

Managers who confront disruptive technological change must be leaders, not followers, in commercializing disruptive technologies.

In sustaining circumstances—when the race entails making better products that can be sold for more money to attractive customers—we found that incumbents almost always prevail. In disruptive circumstances—when the challenge is to commercialize a simpler, more convenient product that sells for less money and appeals to a new or unattractive customer set—the entrants are likely to beat the incumbents.

Red and green, blue and yellow, weird fantastic shapes and colors, jiggling and winking and blaring in and out, each one trying to offer a mightier attraction to the eye than the other. Christmas signs. What a travesty on Christmas! The birth of the Savior of the world mixed up with advertisements of beer and toys! Christmas commercialized! She sighed over the way the world was going.

When you find fame, or you get signed to a record label, it's not what you imagined - because you imagined they would have 100 percent trust or faith in you as an artist. Unfortunately, that's not really the case - it's what sells.

It's typical of record companies. They sign you because you're unique, and then they want to put you in a mold so they can sell records.

By 1988, I'm seeing this commercial phenomenon beginning to show up. Hardware makers are selling routers to universities so they can build up their campus networks. So I remember thinking, 'Well, how are we going to get this in the hands of the general public?' There were no public Internet services at that point.

I see stardom very clearly as a construct that's been created in order to sell things.

Halloween starts earlier and earlier, just like Christmas.

I'm confused that there is a lack of faith in listening to and deciding what is a great song and instead going for these formulaic, bad songs over and over again. But that's what happened when people from beverage companies bought record labels and radio stations as opposed to people who love music owning record labels.

I think the big thing is that Stephen King is just a phenomenon, and when he came along, for the first time horror was suddenly considered a very commercial genre. It had always been around, of course, but now, the books had the word 'horror' actually printed on their spines.

Indeed, counterculture is so commercial and so business-friendly today that a school of urban theorists thrives by instructing municipal authorities on the fine points of luring artists, hipsters, gays, and rock bands to their cities on the ground that where these groups go, corporate offices will follow.

Meanwhile, in the realm of Something Lower, where books are but numbers in a series, the hacks grind out and the presses print the sf equivalent of Silhouette Romances. The sheer mass of Perry Rhodan lookalikes and fantasy-gaming disguised as books is awesome in much the same way that Niagara Falls is awesome: there is so much of it and it never stops.

Has the industry done to music what McDonald's has done to eating?

I do support artists standing by their beliefs and walking with integrity. We have to find a better way to commercially exploit music while giving artists their proper respect. This cannot be done while taking their contributions for granted or trying to control the scope of their growth and power through threats and fear tactics.

Over-commercialization and its resulting restrictions and limitations can be very damaging and distorting to the inherent nature of the individual. I did not deliberately abandon my fans, nor did I deliberately abandon any responsibilities.

I don't quite know how the urban music category came about, but I suspect it had something to do with trying to maximise sales.