The mission will attempt to explore the commercialized manufacturing that is X-Factor, on the music industry. In particular, what does the reality TV show X-factor mean for artist production and its effects on the industry? Can the production prestige that X-Factor had to offer the music industry, at the same time, now no longer be desired by the production of simply regurgitated material? A matter of opinions and factual literature will be explored to elude the commodification that this commercialized machine offers to the music industry. First, what are commodities and the commodification relationship within the music industry? Commodities are the existence of a good produced for profit (Marx, 1968). Well-established commodities are those with large markets, accustomed to large derivatives markets that trade and speculate on profits, if the asset trades in the expected manner (Hesmondhalgh, 2007). Therefore, would this suggest true value to cultural commodification districts and affirm a greater focus on profit motives, thereby weakening the creativity and originality imposed within the media industry? The relationship between commodification and X Factor is a direct marketing tool for the commodification of music, which particularly benefits from the highly sought-after Christmas number one spot each year (King, 2010). X-Factor is a reality television show. which markets a singing competition. It originated in England, where the format is now sold in various other countries, including America. The contestants embark on four preliminary rounds before auditions in front of the judges, where they then face ongoing auditions to then face the audience in l...... middle of paper...... the word sell is simply about how good the musician is with that record, whereas the star making system refers to a well established artist or brand based on their past performance to guarantee future success, examples like Elvis Presley or the Beatles to name just a few. X-Factor nurtures and sculpts that musician to fit a star image or personality (Frith, 2000), for example through auditions where you see their family or hear a heartbreaking story to add a likability factor in their image. A predominant marketing on image as opposed to musical creation is often heard throughout concerts, "you don't have the X-Factor" or "You have the voice, but the image is not good" . Surely it's just the voice, regardless of the designer top they're wearing or the well-known shoes they decided to put on that morning? The term X-Factor says to those…