I am somebody who is not too fond of fancy or commercial stuff, like dancing around trees. Even in the 20 films I have done in South, none had any of such stuff.
I have been skeptical, sometimes, about the importance of rap music, which I think is a capitalistic project to make money.
Record labels and producers are not looking to change you: they are looking to make a star. And what they might think is a star may not be you.
Advertisements are of great use to the vulgar. First of all, as they are instruments of ambition. A man that is by no means big enough for the Gazette, may easily creep into the advertisements; by which means we often see an apothecary in the same paper of news with a plenipotentiary, or a running footman with an ambassador.
They're pushing credit cards. They don't take Visa, but they do take American Express, or they don't take this one, but they take that one, or you'd better bring this one, or if you forget who you are, look on your credit card; it will be there.
As a fashion designer, I was always aware that I was not an artist, because I was creating something that was made to be sold, marketed, used, and ultimately discarded.
The commercial spirit is the spirit of profit, not patriotism; of credit, not honor; of individual gain, not national prosperity; of trade and dickering, not principle.
To me, when I think of New Age, I think of crystals and rainbows and platitudes.
I could go and make commercials left and right and pretend like I am a celebrity, but that is not me.
The radio is not show fun, it's show business. It's money.
Poetry is not the language we live in. It's not the language of our day-to-day errand-running and obligation-fulfilling, not the language with which we are asked to justify ourselves to the outside world. It certainly isn't the language to which commercial value has been assigned.
I never bought the commercial thing, at any stage of the game.
Television is a service, but it's also a business.
Truth is, I've always been selling out. The difference is that in the past, I looked like I had integrity because there were no buyers.
Steve Earle had a mainstream career. Dwight Yoakam had a mainstream career. Willie Nelson did. But they always made good music, they always stuck to who they were. They weren't relying on radio like a lot of people are in Nashville.
What does the money machine eat? It eats youth, spontaneity, life, beauty, and, above all, it eats creativity. It eats quality and sh*ts quantity.
I look at music now as just something to keep you relevant.
It's not selling out, it is called making lots of money.
A lot of people who work on open-source software don't mind making money elsewhere. They aren't anticommercial.
Society cares for the individual only so far as he is profitable.
The superior man understands what is right; the inferior man understands what will sell.
Pop Art is industrial painting. I think the meaning of my work is that it is industrial, it's what all the world will soon become. Europe will be the same way, soon, it won't be American; it will be universal.
Competitions are a business, first and foremost.
The music business is a crazy game, especially for somebody like me who is really a purist about the art. Trying to balance the pressures of commercialism, it's a tightrope. It's a fine line between sticking to your guns and insanity.
I don't know how to sell out. If I tried to sell out I don't think I could.
