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Today the two cities seem to stand in contrast to each another. Florence has become a bustling and vital modern city. Whilst it may no longer nurture Michelangelos and Botticellis, there are native Florentine painters of international renown. Its ancient craft of leatherwork plays a distinctive role in contemporary fashion, and Florentines have effectively revived the old skills with stuffs and dyes and organized their distribution on a scale which dwarfs the network of the once ubiquitous Medici banks. Venice instead is apparently a city belonging only to her past, an empty shell of former glories. Its native population diminishes constantly, deserting the island for the industrial wasteland that threatens to destroy what is left of millennial grandeur. Its last remaining industry makes baubles for the tourists who come in droves to stay on a statistical average of eighteen hours, to mill about and to gawk at the remaining relics of the Seremissima’s magnificence.
—Peter Lauritzen. Venice: A Thousand Years of Culture and Civilization, preface, Atheneum (1978)

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The most condensed format of the conversionist motif is the TV commercial, which has become essential to both network and religious broadcasting. Embedded in its structure are sentiments from our religious and political heritage: salvation and choice. Newness of life can now be associated with a change of heart about politics, the purchase of a new car, or the selection of a beverage. A Pepsi commercial, for example, designed to fit the charismatic personality and gifts of singer Michael Jackson, became an invitation to make a decision and join in. Images and sounds of the soft-drink ad drew viewers into a growing throng of happy, dancing people following the steps of a dynamic cultural hero. Even couch potatoes might have been roused, vicariously at least, to skip lightly behind the agile Jackson as he led his ecstatic followers to the right choice. The conversionist call in this instance is to come on up to the good life through Pepsi. Nonetheless it plays upon the persuasive motifs of turning around and becoming a part of something larger.
—Gregor T. Goethals (b. 1926)