#commercial

The blessing is that everyone knows who I am because of the commercials. ↗

— Carrot Top

#because #blessing #commercials #everyone #i

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. ↗

— Anna Kournikova

#amazed #ask #bonds #commercial #did

This is Port of Spain to me, a city ideal in its commercial and human proportions, where a citizen is a walker and not a pedestrian, and this is how Athens may have been before it became a cultural echo. ↗

— Derek Walcott

#became #been #before #citizen #city

People know that I have a great love for cinema. Not just for commercial cinema, but for the 'cinema d'auteur.' But to me, two of the great 'auteurs' are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo. ↗

— Harvey Weinstein

#both #cinema #commercial #french #great

Because these show are live, script pages are being switched during the program and new commercial teases might be yelled in your ear with just enough time to scribble them on scrap paper before reading them. ↗

— Randy West

#before #being #commercial #during #ear

I had no songs in my repertoire for commercial radio anyway. Songs about debauched bootleggers, mothers that drowned their own children, Cadillacs that only got five miles to the gallon, floods, union hall fires, darkness and cadavers at the bottom of rivers weren't for radiophiles. There was nothing easygoing about the folk songs I sang. They weren't friendly or ripe with mellowness. They didn't come gently to the shore. I guess you could say they weren't commercial. Not only that, my style was too erratic and hard to pigeonhole for the radio, and songs, to me, were more important that just light entertainment. They were my preceptor and guide into some altered consciousness of reality, some different republic, some liberated republic. Greil Marcus, the music historian, would some thirty years later call it "the invisible republic." Whatever the case, it wasn't that I was anti-popular culture or anything and I had no ambitions to stir things up. i just thought of popular culture as lame as hell and a big trick. It was like the unbroken sea of frost that lay outside the window and you had to have awkward footgear to walk on it. I didn't know what age of history we were in nor what the truth of it was. Nobody bothered with that. If you told the truth, that was all well and good and if you told the un-truth, well, that's still well and good. Folk songs taught me that. ↗

— Bob Dylan

#commercial #culture #dylan #entertainment #folk

It was February sixth: eight days until Valentine's Day. I was dateless, as usual, deep in the vice grip of unrequited love. It was bad enough not having a boyfriend for New Year's Eve. Now I had to cope with Valentine datelessness, feeling consummate social pressure from every retailer in America who stuck hearts and cupids in their windows by January second to rub it in. (Thwonk) ↗

— Joan Bauer

#commercialization #humor #self-pity #unrequited-love #valentine-s-day

Many of you might already recognize me as the guy in the question-mark suits appearing in the late night TV commercials and on the cover of educational books and CDs. ↗

— Matthew Lesko

#appearing #books #cds #commercials #cover

The real harm of term extension comes not from these famous works. The real harm is to the works that are not famous, not commercially exploited, and no longer available as a result. ↗

— Lawrence Lessig

#comes #commercially #exploited #extension #famous

Of all the creative work produced by humans anywhere, a tiny fraction has continuing commercial value. For that tiny fraction, the copyright is a crucially important legal device. ↗

— Lawrence Lessig

#commercial #continuing #copyright #creative #creative work