In the 19th century, as mass production became dominant throughout the world, it was observed that consumption was also serialised and quite different groups of people were tried to be united around the "culture of consumption". In a globalised world, instead of a traditional, homogeneous human profile that sees itself as emotionally connected to other members of society, an increasingly industrialised human perception that exhibits "materialistic" characteristics by eliminating the central values in life has been tried to be placed; thus, a cultural environment called "mass culture" has been created.In this respect, it is known that not only commodities, but also literature, music, cinema, painting, images, architecture or other intellectual products were industrialised and included in the consumption process and rapidly opened to the market. Adorno and Horkheimer, members of the Frankfurt School, negated this situation, which led to the loss of the specific weight of artistic and intellectual products under commercial pressure, under the name of "culture industry" and caused a negative perspective to prevail in social theory for a long time against this industrialisation. However, at the point reached today, it is understood that these commercial areas, which have long surpassed heavy industries in terms of the volume of business they provide and each of which has become a large sector, are called "creative industries" and almost all developed countries, especially Western societies, make large investments in these industries and earn high profits. In this respect, this study focuses on these creative industries and by referring to the fact that these industries feed on cultural life, it tries to offer some solutions on how these industries can process Âşık Veysel, who has a great importance in Turkish cultural memory. In this respect, it has been tried to be shown that Âşık Veysel and his cultural heritage can be used effectively in different creative industries such as music, literature and theatre, tourism and cinema, museums and artistic exhibitions, design, fashion, promotion, advertising, software and festivals, and thus, by producing "surplus value", Veysel's legacy, which is a milestone for our cultural life, can be kept alive and sustainable development can be achieved. In addition, it has been tried to show that Âşık Veysel Şatıroğlu, who was included in the UNESCO Commemoration and Celebration Anniversaries Programme on the 50th anniversary of his death and who appears as an important figure for Turkish cultural life, is a great resource not only for folklore and Turkology but also for many different disciplines and fields.