text:
Advertising

Advertising is paid communication through a non-personal medium in which the sponsor is identified and the message is controlled. For a list of phrases used in the promotion of actual products, see Advertising slogans.

A

 * An advertising agency is 85% confusion and 15% commission.
 * Fred Allen, Treadmill to Oblivion, 1954

 * “But your sign says you can conjure up ever-filled purses,” Holger began. “Advertising,” Martinus admitted. “Corroborative detail intended to lend artistic verisimilitude.”
 * Poul Anderson, Three Hearts and Three Lions, chapter 17, 1961

 * Websites peddling disinformation generate more than $2 billion in advertising revenue each year, according to an analysis by NewsGuard and ComScore. Check My Ads says their goal is not just to take that money out of circulation, but to shed new light on just how the shadowy world of online advertising operates. Some 90% of online ads are generated through an automated process, as opposed to being directly placed by a company. Industry insiders call this system "programmatic advertising," which basically means it is automated by computer software, according to Joshua Lowcock, an executive at the marketing and media agency UM. "It's like a stock exchange," Lowcock said. "When you visit a website, there are multiple advertisers bidding on you in a real-time auction."
 * Boby Allyn, “Group aiming to defund disinformation tries to drain Fox News of online advertising”, NPR, Morning Edition, (June 9, 2022)

B

 * People are taking the piss out of you every day. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are The Advertisers and they are laughing at you. You, however, are forbidden to touch them. Trademarks, intellectual property rights and copyright law mean advertisers can say what they like wherever they like with total impunity.  Fuck that. Any advert in a public space that gives you no choice whether you see it or not is yours. It’s yours to take, re-arrange and re-use. You can do whatever you like with it. Asking for permission is like asking to keep a rock someone just threw at your head.  You owe the companies nothing. Less than nothing, you especially don’t owe them any courtesy. They owe you. They have re-arranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs.
 * Banksy taken from 'Brandalism' in the book 'Cut It Out' (inspired by Sean Tejaratchi's piece in Crap Hound No.6, July 1999.)

 * It is sometimes argued that advertising really does little harm because no one believes it any more anyway. We consider this view to be erroneous. The greatest damage done by advertising is precisely that it incessantly demonstrates the prostitution of men and women who lend their intellects, their voices, their artistic skills to purposes in which they themselves do not believe, and that it teaches [in the words of Leo Marx] ‘the essential meaninglessness of all creations of the mind: words, images, and ideas.’ The real danger from advertising is that it helps to shatter and ultimately destroy our most precious non-material possessions: the confidence in the existence of meaningful purposes of human activity and respect for the integrity of man.
 * Paul Baran and Paul Sweezy, 1964
 * quoted by Robert W. McChesney & John Bellamy Foster in "The Commercial Tidal Wave" in Monthly Review (3/2003).

 * Advertise your business. Do not hide your light under a bushel.
 * P. T. Barnum. ‘Sundry Business Enterprises’, Ch XIV, ‘Barnum’s Rules for Success in Business’, The Life of P. T. Barnum, 1855.

 * The sponsor may be viewed as a potentate with a strong influence over currents of thought in our society, exercised mainly through television [...] It has tended to displace or overwhelm other influences such as newspapers, school, church, grandpa, grandma. It has become the definer and transmitter of society's values.
 * Erik Barnouw, The Sponsor: Notes On a Modern Potentate (Oxford University Press, 1978), page 74-75, ISBN 0-19-502614-4.

 * There are a lot of great technicians in advertising. And unfortunately they talk the best game. They know all the rules. They can tell you that people in an ad will get you greater readership. They can tell you that a sentence should be this short or that long. They can tell you that body copy should be broken up for easier reading. They can give you fact after fact after fact. They are the scientists of advertising. But there's one little rub. Advertising is fundamentally persuasion and persuasion happens to be not a science, but an art.
 * William Bernbach, Letter (5/15/47) as quoted in Shaun Usher, Letters of Note: Volume 2: An Eclectic Collection of Correspondence Deserving of a Wider Audience (2016), p.190

 * From any cross-section of ads, the general advertiser's attitude would seem to be: if you are a lousy, smelly, idle, underprivileged and oversexed status-seeking neurotic moron, give me your money.
 * Kenneth Bromfield in Advertiser's Weekly, 1962

C

 * Advertising sells you things you don't need and can't afford, that are overpriced and don't work. And they do it by exploiting your fears and insecurities, and if you don't have any they'll be glad to give you a few by showing you a nice picture of a woman with big tits. That's the essence of advertising: big tits. Threateningly big tits.
 * George Carlin (1997), "40 Years of Comedy".

 * It seems like the better it gets, the more miserable people become. There’s never a technological advancement where people think, “Wow, we can finally do this!” … And I think a lot of it has to do with advertising. Americans have it constantly drilled into our heads, every fucking day, that we deserve everything to be perfect all the time.
 * Louis C.K. (2009), Louis C.K. starvation can be character building

 * So, recently, though it wasn’t reported here, there were negotiations with Australia to establish what’s called a free trade agreement.... The negotiations were held up for some time because the United States was objecting to Australia’s highly efficient health care system. ... Why was the U.S. objecting to the Australian system? Well, because the Australian system is evidence-based... They have to provide evidence that the drug actually does something, that it is better than some cheaper thing that’s already on the market. That evidence-based approach, the U.S. negotiators argued, is interference with free markets, because corporations must have the right to deceive... The claim itself is kind of amusing, I mean, even if you believe the free market rhetoric for a moment. The main purpose of advertising is to undermine markets. If you go to graduate school and you take a course in economics, you learn that markets are systems in which informed consumers make rational choices. That’s what’s so wonderful about it. But that’s the last thing that the state corporate system wants. It is spending huge sums to prevent that.
 * Noam Chomsky, Interviewed at 25th anniversary of the International Relations Center in Santa Fe, New Mexico, January 26, 2005

 * As the most powerful state, the U.S. makes its own laws, using force and conducting economic warfare at will. It also threatens sanctions against countries that do not abide by its conveniently flexible notions of "free trade." In one important case, Washington has employed such threats with great effectiveness (and GATT approval) to force open Asian markets for U.S. tobacco exports and advertising, aimed primarily at the growing markets of women and children. The U.S. Agriculture Department has provided grants to tobacco firms to promote smoking overseas. Asian countries have attempted to conduct educational anti-smoking campaigns, but they are overwhelmed by the miracles of the market, reinforced by U.S. state power through the sanctions threat. Philip Morris, with an advertising and promotion budget of close to $9 billion in 1992, became China's largest advertiser. The effect of Reaganite sanction threats was to increase advertising and promotion of cigarette smoking (particularly U.S. brands) quite sharply in Japan, Taiwan, and South Korea, along with the use of these lethal substances. In South Korea, for example, the rate of growth in smoking more than tripled when markets for U.S. lethal drugs were opened in 1988. The Bush Administration extended the threats to Thailand, at exactly the same time that the "war on drugs" was declared; the media were kind enough to overlook the coincidence, even suppressing the outraged denunciations by the very conservative Surgeon-General. Oxford University epidemiologist Richard Peto estimates that among Chinese children under 20 today, 50 million will die of cigarette-related diseases...
 * Noam Chomsky, The United States and the “Challenge of Relativity”  in Tony Evans, Human Rights Fifty Years on: A Reappraisal, Manchester University Press, November  1998

 * In the 1970s and 1980s, advertising revenues grew faster than the overall economy. Corporate profits began to plunge in the early 1990s and with the dive in profits came a decrease in advertising spending (Woods 1995). In 1991, network ad spending fell more than 7 percent from 1990 figures {Television Bureau of Advertising, in Woods 1995). Newspaper ad spending dropped by the same amount during the same period (Newspaper Advertising Bureau, in Woods 1995), and magazine ad budgets fell 5 percent {Landier, Konrad, Schiller, and Therrien 1991, 67). The advertising industry almost exclusively underwrites mass media in the United States. Newspapers obtain 75 to 80 percent of their revenue from advertisers, general circulation magazines about half (Jhally 1990). All revenue for broadcasts such as television and radio programming come from advertising. Clearly, advertising is the economic lifeblood of the media (Kilbourne 1989). Digital advertising is the new kid on the block. It began in 1998 and includes the Internet and smart phones.
 * Cortese, A. J. (2008). "Provocateur: Images of women and minorities in advertising (3rd ed.)", Oxford, UK: Rowman & Littlefield, p.4.

 * The average American is exposed to more than 3,000 ads a week and watches three years' worth of TV ads over the course of a lifetime. (Parillo 2008, 96.) This makes advertising perhaps the most powerful educational source in society. In fact, we spend more money on advertising than public education.
 * Ibid, p.5

D

 * Women in quantitative fields risk being personally reduced to negative stereotypes that allege a sex-based math inability. This situational predicament, termed stereotype threat, can undermine women’s performance and aspirations in all quantitative domains. Gender-stereotypic television commercials were employed in three studies to elicit the female stereotype among both men and women. Study 1 revealed that only women for whom the activated stereotype was self-relevant underperformed on a subsequent math test. Exposure to the stereotypic commercials led women taking an aptitude test in Study 2 to avoid math items in favor of verbal items. In Study 3, women who viewed the stereotypic commercials indicated less interest in educational/vocational options in which they were susceptible to stereotype threat (i.e., quantitative domains) and more interest in fields in which they were immune to stereotype threat (i.e., verbal domains).
 * Davies, P. G., Spencer, S. J., Quinn, D. M., Gerhardstein, R. (2002). "Consuming images: How television commercials that elicit stereotype threat can restrain women academically and professionally", Personality and Social Psychology Bulletin, 28, p. 1615.

 * Exposing participants to gender-stereotypic TV commercials designed to elicit the female stereotype, the present research explored whether vulnerability to stereotype threat could persuade women to avoid leadership roles in favor of nonthreatening subordinate roles. Study 1 confirmed that exposure to the stereotypic commercials undermined women's aspirations on a subsequent leadership task. Study 2 established that varying the identity safety of the leadership task moderated whether activation of the female stereotype mediated the effect of the commercials on women's aspirations. Creating an identity-safe environment eliminated vulnerability to stereotype threat despite exposure to threatening situational cues that primed stigmatized social identities and their corresponding stereotypes.
 * Davies, P. G., Spencer, S. J., Steele, C. M. (2005). "Clearing the air: Identity safety moderates the effects of stereotype threat on women’s leadership aspirations", Journal of Personality and Social Psychology, 88, p. 276.

 * I honestly believe that advertising is the most fun you can have with your clothes on.
 * Jerry Della Femina, From Those Wonderful Folks Who Gave You Pearl Harbor: Front-Line Dispatches from the Advertising War (1970), p. 270

 * You can tell the ideals of a nation by its advertisements.
 * Norman Douglas, South Wind, 1917

G

 * This study suggests that sex stereotypes implicitly enacted, but never explicitly articulated, in TV commercials may inhibit women's achievement aspirations. Men and women (N=180) viewed locally produced replicas of four current, sex-stereotyped commercials, or four replicas that were identical except that the sex roles were reversed, or (control) named their favorite TV programs. All subjects then wrote an essay imagining their lives “10 years from now.” The essays were coded for achievement and homemaking themes. Women who viewed traditional commercials deemphasized achievement in favor of homemaking, compared to men and compared to women who had seen reversed role commercials. The reversed role commercials eliminated the sex difference in net achievement focus. Control subjects were indistinguishable from their same-sex counterparts in the traditional condition. The results identified some social changes needed to make “equality of opportunity” a social reality for women as well as men.
 * Geis, F. L., Brown, V., Jennings (Walstedt), J., Porter, N. (1984). "TV commercials as achievement scripts for women", Sex Roles, 10, p. 513.

 * "They didn't find those men?" Cayce says. "No. The one you head-butted is probably in a clinic now, getting his nose taped back into shape." Bigend creases his forehead. "You didn't learn that studying marketing, did you?" No. "For all we know. You might have just broken the nose of a junior creative director." "The next junior creative director who tries to mug you, you might break his nose too. But Italians who work in Tokyo ad agencies don't wear Albanian Prada knockoffs."
 * William Gibson, Pattern Recognition (novel), 2003.

 * "The heart is a muscle," Bigend corrects. "You 'know' in your limbic brain. The seat of instinct. The mammalian brain. Deeper, wider, beyond logic. That is where advertising works, not in the upstart cortex. What we think of as 'mind' is only a sort of jumped−up gland, piggybacking on the reptilian brainstem and the older, mammalian mind, but our culture tricks us into recognizing it as all of consciousness. The mammalian spreads continent-wide beneath it, mute and muscular, attending its ancient agenda. And makes us buy things."
 * William Gibson, Pattern Recognition (novel), 2003.

H

 * Give them quality. That's the best kind of advertising in the world.
 * Milton Hershey. Interview with Abe Heilman, 1953. Paul Wallace Research Collection, Accession 97004, Box 2, Folder 24; Hershey Community Archives, Hershey, PA, USA.

 * Research on women in print advertisements has shown that pictures of women's bodies and body parts ("body-isms") appear more often than pictures of men's bodies. Men's faces ("face-isms") are photographed more often than their bodies. This present study is the first to confirm this finding for television commercials. Results showed that men appear twice as often as women in beer commercials. The body-isms of women significantly outnumbered the body-isms of men. Women also appeared in swimwear more often than men, thus increasing the photo opportunities for body-isms. This study raises concerns about the dehuman&ing influence of these images in beer commercials, and their association with alcohol use and the violence in the televised sporting events during which beer commercials are frequently aired.
 * Hall, C. C. I., Crum, M. (1994). "Women and “body-isms” in television beer commercials", Sex Roles, 31, p. 329.

J

 * Advertising, in fact, is the main storyteller of our society. The right question to ask is not whether this or that ad sells what it is advertising, but what are the consistent stories that advertising tells as a whole about what is important in the world, about how to behave, and about what is good and bad?
 * , in Advertising & the End of the World (1997)

K

 * For the next few months, I kept noticing ads that demeaned women in popular magazines as well as in The Lancet. Many of them ended up on my refrigerator. Some of them were outrageous. ("My boyfriend told me he loved me for my mind. I was never so insulted in my life," said a woman with a cigarette.) Many were demeaning, such as the adfor a "feminine hygiene" spray that said, "You don't sleep with teddy bears any more," implying that, although our teddy bears don't mind how we women smell, our boyfriends do. Somewere shockingly violent. I began to notice patterns and categories. I saw that women's bodies were often dismembered in ads-just legs or breasts or torsos were featured. I saw that women were often infantilized and that little girls were sexualized. ("You're a Halston woman from the very beginning," said a shampoo ad, featuring a girl of about five.) I bought a macrolens for my camera and turned the ads into slides. I wasn't sure what I was going to do with them. I had begun my life's work.
 * Kilbourne, J. (1999). "Can’t buy my love: How advertising changes the way we think and feel", New York, NY: Touchstone.

 * "You may be unaware of where your messages are showing up and what content your brand is living next to," said Jon Klein, the former president of CNN who now works in digital media. "It's the nightmare of most responsible marketers."
 * Jon Klein as quoted by Boby Allyn, “Group aiming to defund disinformation tries to drain Fox News of online advertising”, NPR, Morning Edition, (June 9, 2022)

 * Free speech is meaningless if the commercial cacophony has risen to the point where no one can hear you.
 * Naomi Klein, No Logo (1999), p. 284

L

 * Society drives people crazy with lust and calls it advertising.
 * John Lahr, The Guardian 1989

 * The power of advertising to persuade, manipulate, and shape behavior has long been recognized. Bretl and Cantor (1988) estimated that the average American is exposed to over 37,000 advertisements each year through the medium of television alone. Whereas there has been considerable investigation of gender role portrayals in advertisements, comparatively little empirical attention has been paid to the portrayal of sexuality in advertisements.
 * Lanis, K., Covell, K. (1995). "Images of women in advertisements: Effects on attitudes related to sexual aggression", Sex Roles, 32, pp. 639-640.

 * This study examined whether exposure to TV ads that portray women as sex objects causes increased body dissatisfaction among women and men. Participants were exposed to 15 sexist and 5 nonsexist ads, 20 nonsexist ads, or a no ad control condition. Results revealed that women exposed to sexist ads judged their current body size as larger and revealed a larger discrepancy between their actual and ideal body sizes (preferring a thinner body) than women exposed to the nonsexist or no ad condition. Men exposed to the sexist ads judged their current body size as thinner, revealed a larger discrepancy between their actual and ideal body size (preferring a larger body), and revealed a larger discrepancy between their own ideal body size and their perceptions of others’ male body size preferences (believing that others preferred a larger ideal) than men exposed to the nonsexist or no ad condition. Discussion focuses on the cognitive, attitudinal, and behavioral consequences of exposure to gender stereotypic television advertising.
 * Lavine, H., Sweeney, D., Wagner, S. H. (1999). “Depicting women as sex objects in television advertising: Effects on body dissatisfaction.”, Personality and Social Psychology Bulletin, 25, p. 1049.

 * This study was designed to examine the portrayal of women in advertisements in a general interest magazine (i.e., Time) and a women's fashion magazine (i.e., Vogue) over the last 50 years. The coding scheme used for this analysis was based on the one developed by sociologist Erving Goffman in the 1970s, which focuses primarily on the subtle and underlying clues in the picture content of advertisements that contain messages in terms of (stereotypical) gender roles. The results of this study show that, overall, advertisements in Vogue, a magazine geared toward a female audience, depict women more stereotypically than do those in Time, a magazine with the general public as a target audience. In addition, only a slight decrease in the stereotypical depiction of women was found over time, despite the influence of the Women's Movement.
 * Lindner, K. (2004). "Images of women in general interest and fashion magazine advertisements from 1955 to 2002", Sex Roles, 51, p. 409.

 * Advertising may be described as the science of arresting the human intelligence long enough to get money from it.
 * Three Score and Ten by Stephen Leacock

 * She’s the quintessence of the horror behind the bright billboard. She’s the smile that tricks you into throwing away your money and your life. She’s the eyes that lead you on and on, and then show you death. She’s the creature you give everything for and never really get. She’s the being that takes everything you’ve got and gives nothing in return. When you yearn towards her face on the billboards, remember that. She’s the lure. She’s the bait. She’s the Girl.
 * Fritz Leiber, The Girl with the Hungry Eyes (1949) in the collection Night’s Black Agents

 * Advertising is a valuable economic factor because it is the cheapest way of selling goods, particularly if the goods are worthless.
 * Sinclair Lewis, Gideon Planish, (1943), p. 316

M

 * It is impossible to understand the American public without taking into account the tremendous psychological effect of bringing up a generation of people in a daily environment of advertising. It is impossible to escape the advertising man; his sales talk assaults us in the morning newspaper, in the street car, with billboards along the highways, and in his shameless use of the radio. This means that from morning till night, in the midst of our work as in our recreation, we live constantly in an atmosphere of intellectual shoddiness. Every popular prejudice and vulgar conceit is played upon and pandered to in the interests of salesmanship. Everywhere material interests and herd opinion are strengthened to the loss of personal independence. The tendency is to think and speak for effect rather than out of one's inner life. There is a marked decline the ability to play with ideas, or to live the spiritual life for its own sake. Hence a decline in civilization of interest, humor and urbanity. Advertising tends to make mechanized barbarians of us all.
 * Everett Dean Martin, The Conflict of the Individual and the Mass in the Modern World (1932), pp. 29-30

 * The modern Little Red Riding Hood, reared on singing commercials, has no objection to being eaten by the wolf.
 * Marshall McLuhan, The Mechanical Bride, 1951

 * Ads are the cave art of the twentieth century.
 * Marshall McLuhan quoted by Douglas Coupland, Extraordinary Canadians: Marshall McLuhan (aka: Marshall McLuhan: You Know Nothing of My Work! (2010), p. 113) and also in W. Terence Gordon McLuhan: A Guide for the Perplexed, p. 78, thus: "In Culture Is Our Business McLuhan identifies advertising as the cave art of the twentieth century…". This idea is most closely express by McLuhan in Culture Is Our Business (1970) thus: "The cave art of Madison Avenue has been by far the most innovative and educative art form of the twentieth century." (p. 48)

 * Nowhere, except perhaps in the analogous society of pagan Rome, has there ever been such a flowering of cheap and petty and disgusting lusts and vanities as in the world of capitalism, where there is no evil that is not fostered and encouraged for the sake of making money. We live in a society whose whole policy is to excite every nerve in the human body and keep it at the highest pitch of artificial tension, to strain every human desire to the limit and to create as many new desires and synthetic passions as possible, in order to cater to them with the products of our factories and printing presses and movie studios and all the rest.
 * Thomas Merton, The Seven Storey Mountain (1948), p. 148

From La Jac Brite ointment and incense of all kinds, And condemn in writing skin brightening and whitening and whitening of minds. There is upon the federal trade commission a burden of glory So to defend the fact, so to impel The plucking of hope from the hand, honor from the complexion, Sprite from the spell.
 * They deny good luck, love, power, romance, and inspiration
 * Josephine Miles, "Government Injunction Restraining Harlem Cosmetic Co." (1941) St. 2–3; Collected Poems, University of Illinois Press, 1983

N

 * The rich philistinism emanating from advertisements is due not to their exaggerating (or inventing) the glory of this or that serviceable article but to suggesting that the acme of human happiness is purchasable and that its purchase somehow ennobles the purchaser.
 * Vladimir Nabokov, “Philistines and Philistinism,” Lectures on Russian Literature.

 * Are you sensitive? Are you easily hurt? Do you take adverse criticism to heart? Do you sometimes feel that life is passing you by? That the other man gets more out of life than you do? You do? Good. Well, keep it up. That's why we in advertising make so much money... LEGAL. DECENT. HONEST. TRUTHFUL... Are you those things too? Oh goody, better and better! Yum, yum, yum.
 * Not the Nine O'clock News, "NOT! Magazine", 1980.

O

 * By saturating the public domain with false sincerity, advertising makes genuine sincerity more difficult.
 * Avner Offer, The Challenge of Affluence (2006), p. 359.

P

 * Advertising has us chasing cars and clothes, working jobs we hate so we can buy shit we don't need.
 * Chuck Palahniuk, Fight Club (1996)

 * Advertising reaches out to touch the fantasy part of people's lives. And you know, most people's fantasies are pretty sad.
 * Frederik Pohl, The Way The Future Was, 1978

 * Living in age of advertisement, we are perpetually disillusioned. The perfect life is spread before us every day, but it changes and withers at a touch.
 * J. B. Priestley, "The Disillusioned", 1929; in The Balconinny, and Other Essays, 1969, p. 30.

 * It is never silent, it drowns out all other voices, and it suffers no rebuke, for is it not the voice of America? [...] It has taught us how to live, what to be afraid of, how to be beautiful, how to be loved, how to be envied, how to be successful. ... Is it any wonder that the American population tends increasingly to speak, think, feel in terms of this jabberwocky? That the stimuli of art, science, religion are progressively expelled to the periphery of American life to become marginal values, cultivated by marginal people on marginal time?
 * James Rorty, Our Master's Voice: Advertising (New York: John Day, 1934); pages 32-33, 70-72, 270.

 * The Federal Radio Commission has interpreted the concept of public interest so as to favor in actual practice one particular group … the commercial broadcasters.
 * E. Pendleton Herring, "Politics and Radio Regulation", Harvard Business Review, January 1935

R

 * The notion that ads convey meaning about gender without viewers’ awareness is not new. In his influential Gender Advertisements, Goffman (1979) argued that advertisements symbolically reflect social-cultural constructions of gender through displays of posture, positioning, facial expressions, and social roles: Sitting at a man’s feet (ritualized subordination), gazing off absently (licensed withdrawal), or gently caressing an object (feminine touch) all demonstrate women’s inferior status. According to Goffman, however, we fail to recognize the sexism in these images precisely because they reflect our unexamined assumptions about gender. Nonetheless, these gender displays allegedly perpetuate sexist stereotypes. Despite the complete lack of empirical evidence showing that these images promote sexist beliefs or attitudes, Goffman’s analysis is widely accepted by scholars, who regularly employ his taxonomy of gender displays to establish the prevalence of sexism in the media (e.g., Belknap & Leonard, 1991; Kang, 1997; Krassas, Blauwkamp, & Wesselink, 2003; Lindner, 2004; Millard & Grant, 2006; Plous & Neptune, 1997).
 * Arleigh J. Reichl, Jordan I. Ali, Kristina Uyeda, "Latent Sexism in Print Ads Increases Acceptance of Sexual Assault", Sagepub, (April 20, 2018).

 * In sum, there is clear support for the prediction that ads with latent sexism produce greater acceptance of sexual assault compared with nonsexist ads. There is also evidence that the effects of latent sexism on acceptance of sexual assault and minimization of sexual coercion are distinct from the effects of overt sexism. Yet, because the ads in the latent, overt, and no sexism conditions differed in ways other than the type of sexist content, the internal validity of the ad effects remains a concern.
 * Arleigh J. Reichl, Jordan I. Ali, Kristina Uyeda, "Latent Sexism in Print Ads Increases Acceptance of Sexual Assault", Sagepub, (April 20, 2018).

 * advertising [...] makes you spend money you haven't got for things you don't want.
 * Will Rogers, as the Connecticut Yankee Hank Morgan / Sir Boss in the 1931 film A Connecticut Yankee (after Mark Twain). Cf. Ivan G. Shreve Jr: Thrilling days of yesteryear blogspot.de/2009/09. Also quoted in Printers' Ink magazine, volume 156, issue 1 (1931), p. 3 books.google and Advertising Outdoors Vol. 2, No. 8 (August 1931), p. 19, [2] = [3]

 * In Australia, the Human Rights and Equal Opportunity Commission specifically lists the display of pin-ups as an example of sexually harassing behaviour. While sexual harassment legislation in both Australia and the United States covers sites including workplaces and educational institutions, such legislation has not been designed to include sexual harassment occurring in public space. This article will explore the reality that outdoor advertisements on public display are visually very similar to sexually harassing pin-ups, as will be demonstrated through references to examples collected as part of a year long study of outdoor advertising in Melbourne, Australia. Because of the visual similarities between outdoor advertising and, for example, pin-ups which are prohibited in sites such as workplaces, this article suggests that both media should be critiqued in the exact same manner. This article argues that the specific elements that make sexual harassment inappropriate in the workplace – i.e., the captive environment that is created whereby exposure to sexual images is unavoidable – is a situation replicated in public space with a person utilising space being held captive in a similar manner. Similarly, this article will explore the manner in which pin-ups masculinise a workplace in the same way that sexist outdoor advertisements masculinise public space. The usefulness, limitations and feasibility of the application of sexual harassment discussions to sexist outdoor advertisements will also be considered.
 * Rosewarne, L. (2007). "Pin-ups in public space: Sexist outdoor advertising as sexual harassment", Women’s Studies International Forum, 30, p. 313.

 * This study examines the way female and male models are portrayed in magazine advertisements. Specifically. we focus on differences in sex role stereotyping, sexual display of the body, and violent imagery. Data were collected from a stratitied random sample of magazines displaying fashion and fitness advertisements (N = 254). Findings from he analysis show that females are more likely than males to be placed in submissive positions, sexually displayed, and subjects of violent imagery. Sexual display and violent imagery measures are the strongest predictors of subjective level of exploitation.
 * Rudman, W. J., Verdi, P. (1993). "Exploitation: Comparing sexual and violent imagery of females and males in advertising", Women & Health, 20, p. 1.

S

 * There are huge advertising budgets only when there's no difference between the products. If the products really were different, people would buy the one that's better. Advertising teaches people not to trust their judgment. Advertising teaches people to be stupid.
 * Carl Sagan, Contact as quoted in The Seven Deadly Skills of Competing

 * "Papa, what is the moon supposed to advertise?"
 * Carl Sandburg, The People, Yes, 1936

 * Women who were exposed to advertisements that portrayed women in their traditional role as homemakers reported less favorable attitudes toward political participation than women who were not exposed to advertisements. Exposure to portrayals of women as sex objects, on the other hand, did not affect women's attitudes. In contrast, men reported less favorable attitudes toward political participation after exposure to advertisements that portrayed women as sex objects, but were not affected by portrayals of women as homemakers. Implications for the influence of sex roles on political participation and the impact of sexist advertisements are discussed.
 * Schwarz, N., Wagner, D., Bannert, M., Mathes, L. (1987). "Cognitive accessibility of sex role concepts and attitudes toward political participation: The impact of sexist advertisements", Sex Roles, 17, p. 593.

 * Advertising has sometimes been depicted as simply another cost added on to the cost of producing goods and services. However, in so far as advertising causes more of the advertised product to be sold, economies of scale can reduce production costs, so that the same product may cost less when it is advertised, rather than more. Advertising itself of course has costs, both in the financial sense and in the sense of using resources. But it is an empirical question, rather than a foregone conclusion, whether the costs of advertising are greater or less than the reductions of production costs made possible by the economies of scale which it promotes. This can obviously vary from one firm or industry to another.
 * Thomas Sowell, Basic Economics (2010), Ch. 6. The Role of Profits— and Losses

T

 * Advertising is the whip which hustles humanity up the road to the Better Mousetrap. It is the vision which reproaches man for the paucity of his desires.
 * E. S. Turner, The Shocking History of Advertising, 1952

 * Many a small thing has been made large by the right kind of advertising.
 * Mark Twain, A Connecticut Yankee in King Arthur's Court, 1889, Ch. 22.

W

 * Two matched series of TV commercials served as stimuli in a study with 52 female undergraduates. One series consisted of 4 replicas of current network commercials. The other series consisted of the same 4 commercials, identical in every respect except that each of the roles in the scenario was portrayed by a person of the opposite sex. Ss viewed either the traditional or reversed-role series. Those exposed to the nontraditional versions showed more independence of judgment in an Asch-type conformity test and displayed greater self-confidence when delivering a speech, thus supporting the hypothesis that commercials function as social cues to trigger and reinforce sex role stereotypes. Findings suggest that repeated exposure to nonstereotypic commercials might help produce positive and lasting behavioral changes in women. (24 ref) (PsycINFO Database Record (c) 2016 APA, all rights reserved)
 * Jennings-Walstedt, J., Geis, F. L., Brown, V. (1980). "Influence of television commercials on women’s self-confidence and independent judgment", Journal of Personality and Social Psychology, 38, p. 203.

 * Half the money I spend on advertising is wasted, and the trouble is I don't know which half.
 * John Wanamaker. Quoted in David Ogilvy's Confessions of an Advertising Man, Ch. 3, 1963. [Wanamaker here paraphrasing the 1st Lord Leverhulme].

 * Between a poem by Valéry and an advertisement for a beauty cream promising a rich marriage to anyone who used it there was at no point a breach of continuity. So as a result of literature’s spiritual usurpation a beauty cream advertisement possessed, in the eyes of little village girls, the authority that was formerly attached to the words of priests.
 * Simone Weil, “Morality and literature,” On Science, Necessity, and the Love of God, R. Rees, trans. (1968), p. 164.

 * Jason Lynch: What did the advertising industry think of the show?
 * Matthew Weiner: I would hear two things. Number one: "You're making our job very hard because every client is coming in and is expecting an emotional sales pitch, which is not what we do anymore. "And then I was hearing, "He's so good and it's so short!" And I would say, "It's rigged! I'm writing the clients as well." (laughs) I'm deciding if he's successful. If you go in and try that domineering attitude he takes in the episode where he's like, "Do you believe in Jesus or not?" If you try that in real life, I'm pretty sure you will lose the client, and get fired!

 * Jason Lynch: How has the experience of making Mad Men changed your view of advertising now?
 * Matthew Weiner: It's hard for people to remember, but when we went on the air, advertising was in a deep crisis. And it got even worse. We went on in 2007, and just imagine, a year and a half after we go on the air, there's no car advertising because this gigantic recession has happened. And combine that with the internet and everything else, and people are scrambling, figuring out how to even get a message to anyone. And what I see now, is that the public's appetite for advertising—and especially the next generation—it's insatiable. And they don't even seem to see it as a nuisance or any of the things we talked about on the show. As a consumer, I feel like there was an effort made to make things more interesting. And there was a whole school of advertising that was fighting the DVR. If you look at the Target ads, there's a whole school of advertising that is short and sweet and one-joke, like Geico. So I've seen it change. Some of it feels retro to me and some of it doesn't. But I see that the industry did respond to the technology. I guess what I'm most interested in is, and the entertainment industry is in the same shape: How do you stand out in this marketplace? And it's so wide open and so, as we know from the election, at least bifurcated, but even more individual than that … this is not a technological issue anymore, this is a creative issue. I can say that for the most part, there are people rising to that problem. I see more interesting creative than I did when we went on the air. Though I don't know if it's working! [One thing we learned from working on the show is that] a great creative ad does not necessarily sell anything.
 * Creator of Mad Men Matthew Weiner, "Mad Men Creator Matthew Weiner Looks Back on His Show and What It Taught Him About Advertising" Jason Lynch, Ad Week, December 20, 2016.

Z

 * "We decided to dig deep and pay for television ads we weren't planning to buy because we wanted to make the point that Fox News is out of the mainstream," the movie's director, Marshall Curry, told The Post, adding that he believed the network's rejection of the ad was politically motivated. "It says something that some news channels trust their audience to interpret American history while Fox distrusts its audience and doesn't think it can do that." A spokesman for MSNBC said the company initially rejected the ad because an NBC UNiversal standards group deemed the content too provocative. But the group then gave the filmmakers notes on potential changes that would make the ad acceptable for its airwaves, particularly saying the ad would need context before diving into the Nazi footage. The filmmakers returned with a version that included a title card explaining this was part of an Oscar-nominated film. "We wanted to make sure viewers had full understanding and appropriate context of this ad. And the filmmakers were open to feedback to make a change," the spokesman, Joe Benarroch, told The Post. A CNN spokeswoman did not immediately reply to a request for comment. Asked about the new developments, a Fox News spokeswoman re-sent a statement from earlier in the week by president of ad sales Marianne Gambelli which said the “ad in question is full of disgraceful Nazi imagery regardless of the film’s message and did not meet our guidelines.”
 * Steven Zeitchik, “CNN and MSNBC will run anti-Nazi ad that Fox News rejected, filmmakers say”, The Washington Post, (February 16, 2019).

title: Advertising


text:
Tales of the City

Tales of the City refers to a series of nine novels written by American author Armistead Maupin. The stories from Tales were originally serialized prior to their novelization, with the first four titles appearing as regular installments in the San Francisco Chronicle, while the fifth appeared in the San Francisco Examiner. The last three titles were never serialized, but were instead originally written as novels.

Quotes
These quotes are from Armistead Maupin's Tale's of the City series of novels.

 * Dear, I have no objection to anything!
 * Mrs. Madrigal

 * Garbage, you know, is very revealing. Beats the shit out of Tarot cards.
 * Mona Ramsey

 * I don't get off till 7.00 ; Brian: It's not when it's HOW!
 * Candy

 * Is that the answer?" - Anna: "That depends....what's the question?
 * Edgar

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Tales of the City


text:
Joe Satriani

Joe "Satch" Satriani (born July 15, 1956) is an instrumental rock guitarist and teacher, and a recognized virtuoso rock guitarist.

Quotes

 * If someone can relate my guitar solo to an exercise in a book … that's no fun at all.
 * As quoted in Guitar Player (November 1989).

 * It really sucks when music is so perfect you just don't need to hear it anymore.
 * Discussing his intentionally-out-of-tune intro to "Back To Shalla Bal" and contrasting it to the "perfectness" of Abba's vocals.
 * As quoted in Guitar Player (November 1989).

 * I'm ready to take the heat.
 * On the decision to sing vocals himself for Flying In A Blue Dream, as quoted in Guitar Magazine (March 1990).

 * My inspirations don't come from outer space, they just come to me. I have no idea why they come when they do.
 * As quoted in Guitar Magazine (March 1990).

 * Song ideas have come to me in the middle of interviews, in the shower, or while I'm writing another song.
 * As quoted in Guitar Magazine (March 1990).

 * I write the songs first and in most cases teach myself the technique second.
 * As quoted in BAM Magazine (6 April 1990).

 * My first [guitar] lessons lasted two weeks and it was "Jingle Bells." It didn't make any sense at all. I wanted to know how to play like Hendrix...
 * As quoted in BAM Magazine (6 April 1990).

 * I've always spent a lot of time on my records with what I think were unique rhythmic approaches … but no one ever writes about your rhythm playing
 * As quoted in BAM Magazine (6 April 1990).

 * When you hear an instrumental song someone is singing over, you know right away it's wrong.
 * As quoted in BAM Magazine (6 April 1990).

 * I can embarrass myself very easily on guitar. It's funny because people say to me I can play anything; I'm God on the guitar. But I could make a big list of everything I can't play... I'm grateful that people don't notice that.
 * As quoted in BAM Magazine (6 April 1990).

 * Eee-nee-mee-nee-my-nee-moe
 * His vocal warmup, as quoted in Guitar World (October 1990).

 * 18th September, 1970; Jimi Hendrix dies. I'm still on the football team when I get the news. So I take my helmet off and confront the coach to tell him I'm quitting the team. In a moment of brilliance he gives me one look and says "OK".
 * Interviewed in Joe Satriani: The Satch Tapes (1993).

 * I think it's quite painfully obvious when someone's practicing through an amp, as opposed to someone who's really laying down some stuff that just happens to be fast.
 * As quoted in "Shred on Arrival" by Alan di Perna in Guitar World (November 1993).

 * The Squares [his former band] never really fit in. We weren't rock enough. We weren't alternative enough. We weren't new wave enough and we weren't punk enough. Maybe we just weren't the right people for the band.
 * As quoted in "Shred on Arrival" in Guitar World (November 1993).

 * Mozart was a freaky kind of shredder.
 * As quoted in "Shred on Arrival" in Guitar World (November 1993).

 * I assume most guitar players are like me. They're playing, having fun; then they get a magazine in the mail that says "Shred Is Dead" and they say, "What the Hell?" They throw it away and keep on playing.
 * As quoted in "Shred on Arrival" in Guitar World (November 1993).

 * When you think about where guitar playing is going today...: it's going everywhere at the same time.
 * As quoted in "Shred on Arrival" in Guitar World (November 1993).

 * I'll tell you one thing: I will always play the sh** out of my guitar.
 * As quoted in "Shred on Arrival" in Guitar World (November 1993).

 * Sounds cool. Looks cool. Feels cool.
 * On what he likes most about the guitar, as quoted by Metal Edge (April 1994).

 * Relax. Be yourself. Play a lot.
 * Advice for other musicians, as quoted by Metal Edge (April 1994).

 * When these guitar mags bring up that stuff up and say such and such came up with this and that which is pushing the boundaries, I just say, "let's step back for a minute and admit something: nothing has happened for the last 100 years." And it's okay. It's not a bad thing … We're all working with "tools" that have been in existence for the last 100 years and there hadn't been a new "tool" for a long long time.
 * As quoted in RIP magazine (June 1994).

 * Basic anatomy. That has got to be the ongoing frustration: Why can't my fingers do what I want them to do? Not being able to play what I hear in my head — that is the ultimate source of frustration.
 * As quoted in Joe Satriani : Riff By Riff (1994) by Rich Maloof.

 * When you hear something you don't like, don't ever play it again.
 * As quoted in Joe Satriani : Riff By Riff (1994) by Rich Maloof

 * ...Is the greatest guitar player in the world.
 * Steve Vai about Satriani, as quoted in Joe Satriani : The Satch Tapes (1993).

 * Satriani's Law: There's at least a 30% chance that someone will print the name Satriani incorrectly
 * As quoted in Luminous Flesh Giants Tour Itinerary booklet (1995).

 * Guitars are fun. There are plenty of different kinds to play. They look cool. They sound cool. Don't *you* want to play guitar?
 * As quoted in Musician magazine (November 1996).

 * There's a fine line between giving the sense of freedom and being too free.
 * Discussing how he always works out parts that use pitch axis theory, as quoted in Guitar Magazine (November 1996).

 * Solos I kind of [couldn't] care less about. I know most people probably think that's what I care most about, but it's really the melody playing that is the cornerstone of what I'm working on.
 * As quoted in Guitar Magazine (August 1997).

 * I've always done "the wrong thing" and had a pretty wonderful time doing it.
 * In response to a question about whether he thinks fans would be shocked by "Enigines of Creation", as quoted in Guitar World (May 2000).

 * I pride myself on being incorrigible. I have a very hard time being told what to do.
 * As quoted in Guitar World (May 2000).

 * When I want to play music, you've got to get me on tape or else it goes.
 * As quoted in Guitar 2001 magazine, Issue #10, (Summer 2001).

title: Joe Satriani


text:
User talk:24.250.136.151

~ MosheZadka (Talk) 16:00, 16 October 2005 (UTC)

title: User talk:24.250.136.151


text:
Toy Story 2

Toy Story 2 is a 1999 film about toys who come to life when their owner leaves the room, and their adventures trying to rescue one of their members after he is stolen by Al, a toy collector.
 * ''Directed by John Lasseter, Ash Brannon and Lee Unkrich. Written by John Lasseter, Peter Docter, Ash Brannon, Andrew Stanton, Rita Hsiao, Doug Chamberlain and Chris Webb.

The Toys Are Back In Town! (taglines)

Woody

 * Ride like the wind, Bullseye!

Buzz Lightyear

 * Woody once risked his life to save me. I couldn't call myself his friend if I weren't willing to do the same. So, who's with me?

Dialogue

 * Buzz: Woody, you haven't found your hat yet, have you?
 * Woody: No! And Andy's leaving for Cowboy Camp any minute, and I can't find it anywhere!
 * Buzz: Don't worry, Woody. In just a few hours, you'll be sittin' around a campfire with Andy, makin' delicious, hot schmoes.
 * Woody: They're called s'mores, Buzz.
 * Buzz: Right. Right. Of course.

 * [Later, a boy riding a bike throws a newspaper at the house. Woody is asleep when the car pulls up outside the house. He wakes up and sees Andy jumping out and riding on a toy horse]
 * Andy: Yee-haw! Ride 'em, cowboy! Whoo! Yeah, giddy-up! Yeah, giddy-up!
 * Woody: He's back? Hey, everybody! Andy's back! He's back early from cowboy camp!
 * [The toys are playing cards and look up to Woody. Hamm is at the door and hears Andy's footsteps coming closer]
 * Hamm: Places, everybody! Andy's coming!
 * [The toys scatter to their places and Woody freezes as Andy enters the room]
 * Andy: Yeah! [humming The Lone Ranger theme] Hey, Woody, did you miss me? Giddy-up, giddy-up, giddy-up, giddy-up. Ride 'em, cowboy!
 * [Then he sees the rip in Woody's arm and his smile turns to a frown]
 * Andy: Ohh, I forgot. You're broken. I don't want to play with you anymore.
 * [Andy drops Woody and he falls towards the deck of cards on the floor and as he hits them, he keeps falling through the blue area until he goes into a black circle and lands in a trash can. Woody looks around to see lots of broken toy hands and parts beside him]
 * Woody: [gasps] No. Andy! No! No, Andy! No! Andy, Andy, Andy!
 * [The toy parts grab Woody by the neck and drag him downward as Andy appears]
 * Andy: Byeee, Woody.
 * Woody: No, no! ANDY!
 * [Andy puts the lid on the bin, making it go black. Woody wakes up from a nightmare and sees his ripped arm around his neck]

 * [Andy’s toys are hovered around a toy recreation of Andy’s street in Andy’s bedroom]
 * Hamm: All right, let’s review this one more time; At precisely 8:32-ish, Exhibit A:  Woody was kidnapped. Exhibit B: Composite sketch of the kidnapper.
 * [Etch-ASketch draws Al with a long beard]
 * Bo Peep: He didn't have a beard like that.
 * Hamm: Fine. Etch, give ‘em a shake.
 * [Etch erases the current sketch and replaces it with a more accurate drawing of Al.]
 * Slinky: The kidnapper was bigger than that.
 * Hamm: Oh, picky, picky, picky.
 * Mr. Potato Head: Let’s just go straight to Exhibit F: The kidnapper’s vehicle. Now the kidnapper’s vehicle fled the scene in this direction. [Points to the mock-up of Andy’s street]
 * Hamm: Your eyes are in backwards! It went the other way.
 * Mr. Potato Head: Hey! Put a cork in it!
 * Rex: How do you spell “F.B.I.”?
 * [Rex walks through the mock-up scene, wrecking it]
 * Mr. Potato Head: My crime scene!
 * Hamm: Oh, why don’t you watch where you’re going God-Spill-A!
 * Rex: I didn’t know there was a crime scene!
 * Buzz: Excuse me, excuse me, little quieter please. Thank you.
 * Hamm: Huh?
 * [Buzz is typing Al’s license plate letters on Mr. Spell trying to decipher what it means]
 * Mr. Spell: “LAZY TOY BRAIN”. “LOUSY TRY BRIAN”.
 * Rex: What are you doing Buzz?
 * Buzz: Some sort of message encoded on that vehicle’s I.D. tag.
 * Mr. Spell: “LIZ TRY BRAN”.
 * Mr. Potato Head: It’s just a license plate, it’s just a jumble of letters.
 * Hamm: Yeah and there about 3.5 million registered cars in the Tri-County Area alone.
 * Mr. Spell: “LOU’S THIGH BURN”
 * Mr. Potato Head: Oh this can’t help! Let’s leave Buzz to play with his toy.
 * Buzz: Toy. Toy. Toy! Hold on!
 * [Buzz types something on Mr. Spell’s keyboard and presses the “speak” button]
 * Mr. Spell: AL'S TOY BARN.
 * [Collective gasps from the toys]
 * All the toys together: Al's Toy Barn!?
 * Buzz: Etch, draw that man in a chicken suit!
 * [Etch eases the current sketch and replaces it with Al dressed in a chicken costume from the commercial]
 * Rex: AH! It's the chicken man!
 * Buzz: That's our guy.
 * Hamm: I knew there was something I didn’t like about that chicken.

 * Jessie: Oh! Hey, look at us! We're a complete set!
 * Stinky Pete: Now it's on to the museum!
 * Woody: Museum?! [stops running in surprise and slides into Jessie and Bullseye, knocking them and himself off the record and onto the table] What museum?
 * Stinky Pete: The museum! We're being sold to the Konishi Toy Museum in Tokyo!
 * Jessie: That's in Japan!
 * Woody: Japan? No, no, no, no, no, no, no. I can't go to Japan.
 * Jessie: [chuckles] What do you mean?
 * Woody: I gotta get back home to my owner, Andy. Hey, look, look, see?
 * Jessie: [gasps] He still has an owner.
 * Stinky Pete: Oh, my goodness.
 * Jessie: No. Can't go. I can't do storage again. I just can't!
 * Stinky Pete: Jessie. Jessie.
 * Jessie: [shaking his box frantically] I won't go back in the dark!
 * Woody: Wh-What's the matter? What's wrong with her?
 * Stinky Pete: Well, we've been in storage for a long time, waiting for you.
 * Woody: Why me?
 * Stinky Pete: The museum's only interested in the collection if you're in it, Woody. Without you, we go back into storage. It's that simple.
 * Jessie: It's not FAIR! How can you do this to us?!
 * Woody: Hey, look, I'm sorry, but this is all a big mistake. You see, I was in this yard sale, and--
 * Stinky Pete: Yard sale? Why were you in a yard sale if you have an owner?
 * Woody: Well, I wasn't supposed to be there. I was trying to save another toy when--
 * Stinky Pete: Was it because you're damaged? Hmm? Did this Andy break you?
 * Woody: Yeah, but... No, no, no, no! It was an accident. I mean--
 * Jessie: Sounds like he really loves you.
 * Woody: It's not like that, okay?! And I'm not going to any museum!
 * Jessie: Well, I'm not going back into storage!

 * Buzz: Good work, men. Two blocks down, and only 19 more to go.
 * Rex: What?!
 * Other toys: 19?!
 * Mr. Potato Head: Are we gonna do this all night? My parts are killing me.
 * Buzz: Come on, fellas! Did Woody give up when Sid had me strapped to a rocket?
 * Other toys: No.
 * Buzz: No! And did he give up when you threw him out of the back of that moving van?
 * Mr. Potato Head: Oh, ya had to bring that up.
 * Buzz: No, he didn't! We have a friend in need, and we will not rest until he's safe in Andy's room! Now let's move out!

 * [Buzz #2 uses Mr. Potato Head's eye to see what Woody and his roundup gang are up to in Al's apartment]
 * Buzz #2: What's happening?
 * Mr. Potato Head: [frightened] Oh, it's horrible! They're torturing him!
 * Rex: [gasps] What are we gonna do, Buzz?!
 * Buzz #2: Use your head!
 * [he and the others use Rex as a battering ram]
 * Rex: But I don't wanna use my head!
 * [they quickly charge at the vent and break through to the apartment]

 * Woody: Nah, Buzz. [sighs] I can't go. I can't abandon these guys. They need me to get into this museum. Without me, they'll go back into storage. Maybe forever.
 * Buzz: Woody, you're not a collector's item. You're a child's plaything. You... are... A TOY!
 * Woody: For how much longer? One more rip, and Andy's done with me. And what do I do then, Buzz? Huh? You tell me!
 * Buzz: Somewhere in that pad of stuffing is a toy who taught me that life's only worth living if you're being loved by a kid. And I traveled all this way to rescue that toy, because I believed him.
 * Woody: Well, you wasted your time.
 * Buzz: Let's go, everyone.
 * Slinky: What about Woody?
 * Buzz: He's not coming with us.
 * Rex: But Andy's coming home tonight.
 * Buzz: Then we'd better make sure we're there waiting for him.
 * [the other toys make their way back to the vent]
 * Woody: I don't have a choice, Buzz. This is my only chance.
 * Buzz: To do what, Woody? Watch kids from behind glass and never be loved again? Some life.

 * Woody: [after seeing a human boy hugging him on the set of "Woody's Roundup"] What am I doing? Buzz! Wait! Wait!
 * Prospector: Woody, where are you going?
 * Woody: You're right, Prospector. I can't stop Andy from growing up... but I wouldn't miss it for the world. [runs to the heat duct]
 * Prospector: No!

 * [right when the Prospector is out of his box, he rudely screws the heat duct back in place to prevent the rest of the gang's escape]
 * Prospector: I tried reasoning with you, Woody, but you keep forcing me to take extreme measures. [angrily taps his pickaxe onto the remote, turning off the TV]
 * Woody: Wait a minute. You turned on the TV last night, not Jessie!
 * Prospector: Look, we have an eternity to spend together at the museum. Let's not start off by pointing fingers, shall we?
 * Woody: You really are Stinky Pete, aren't you?
 * Jessie: Prospector, this isn't fair!
 * Prospector: Fair? I'll tell you what's not fair: Spending a lifetime on a dime-store shelf watching every other toy be sold! Well, finally my waiting has paid off, and no hand-me-down cowboy doll is gonna mess it up for me now! [angrily throws his box back into his display case]
 * Woody: Buzz! Help, Buzz! Guys!
 * Prospector: It's too late, Woody! That silly Buzz Lightweight can't help you.
 * Woody: His name is Buzz Lightyear!
 * Prospector: Whatever. I've always hated those upstart space toys. [angrily climbs back into his box]

 * Zurg: Surrender, Buzz Lightyear. I have won.
 * Buzz #2: I'll never give in! You killed my father!
 * Zurg: No, Buzz. I am your father.
 * Buzz #2: NOOOOOOOOOOOOOOOOOOOOOO!!!!!

 * [last lines]
 * Buzz: You still worried?
 * Woody: About Andy? Nah. It'll be fun while it lasts.
 * Buzz: I'm proud of you, cowboy.
 * Woody: Besides, when it all ends, I'll have old Buzz Lightyear to keep me company... for infinity and beyond.

Taglines

 * The Toys Are Back!
 * The Toys Are Back In Town!

Cast (voices)

 * Tom Hanks as Woody
 * Tim Allen as Buzz Lightyear/Utility Belt Buzz
 * Joan Cusack as Jessie
 * Kelsey Grammer as Stinky Pete
 * Don Rickles as Mr. Potato Head
 * Jim Varney as Slinky Dog
 * Wallace Shawn as Rex
 * John Ratzenberger as Hamm
 * Annie Potts as Bo Peep
 * Wayne Knight as Al McWhiggin
 * John Morris as Andy Davis
 * Laurie Metcalf as Jennifer Davis
 * Estelle Harris as Mrs. Potato Head
 * R. Lee Ermey as Sarge
 * Jodi Benson as Tour Guide Barbie
 * Jonathan Harris as The Cleaner
 * Joe Ranft as Wheezy (speaking voice)
 * Robert Goulet (singing voice)
 * Andrew Stanton as Emperor Zurg
 * Jeff Pidgeon as Squeeze Toy Aliens/Mr. Spell

title: Toy Story 2


text:
Supreme Power

Supreme Power (August 2003) is a comic series written by J. Michael Straczynski and drawn by Gary Frank. It features a rebooted version of the superhero team Squadron Supreme, itself a representation of DC Comics' Justice League of America.

Issue #1

 * Jimmy Carter [on what to do with baby Hyperion]: He's a child of the United States. See to it he's raised like one.

 * Man watching Hyperion [after seeing his "flash vision" manifest and kill a puppy named "Spot"]: Huh...well...I guess Spot was kind of the right name after all.

Issue #2

 * Nighthawk's father: Hear that, Rosalie? You know what kind of bird that is?
 * Nighthawk's mother: Oh, and you do?
 * Nighthawk's father: It's a nighthawk. See, most hawks hunt only during the day. But the prey they're chasing, well, they've got an advantage, because during the day, you can see the hawk's shadow. But a hawk that hunts at night, well, you can't see it, can you? Can't see his shadow. Can't stop it.
 * Nighthawk's mother: You're making this up.

[a soldier asks Joseph Ledger why they call him "The Doctor"]
 * Doctor Spectrum: You want someone to perform a job with precision? Without making an error? You want a surgeon. A Doctor.

[after Hyperion's first day at normal school]
 * Hyperion: I don't... I just don't fit in, that's all. I don't belong there.
 * Hyperion's father: It'll be okay, Mark. You have a purpose. You're important. That's what matters.
 * Hyperion: I know, it's just... there really isn't anyone else in the world like me, is there?
 * Hyperion's father: Not that we know of, Mark. Not that we know of.

Issue #3

 * Hyperion [to Washington Herald reporter Jason Scott]: Good evening Mr. Scott. I've been told to ask you a question. Would you be interested in winning the Pulitzer this year?

 * Bill Clinton: Ladies and Gentlemen, I now present to you a truly extraordinary American. An amazing young man previously know only by his designation as part of Project Hyperion: Mark Milton.

 * Jason Scott: Where are you from, Mark? Really?
 * Hyperion: I don't know. I don't know...

 * Jason Scott [last line]: You say I got the story. But what if I missed the story? What if Hyperion isn't alone after all?

Issue #4

 * General Casey [on Hyperion]: You've given America a new star.

 * Hyperion [after seeing The Blur]: I'm not alone... I'm not alone.

Issue #5

 * Dr. Bill Steadman [to General Casey, after Dr. Spectrum wakes up from his years-long coma]: Well. I think it worked, General.

 * Hyperion [seeing the The Blur appear on TV]: Finally. Finally! Yes!

Issue #6
[The first meeting of Hyperion and The Blur]
 * The Blur: Hey.
 * Hyperion: Hey.
 * The Blur: How's it going?
 * Hyperion: Good. You?
 * The Blur: So Far.
 * Hyperion: So why'd you run away that day I saw you?
 * The Blur: Wasn't ready to talk to anybody yet. Wasn't ready to come out.
 * Hyperion: Then why were you running all over Georgia every couple of days? Even blurred by speed, you must've known that sooner or later somebody would get a picture of you.
 * The Blur: Yeah, I knew it was a risk. But I couldn't not do it, y'know? I mean, knowing what I can do, how fast I can run, to just stay home, sittin' around the house... I'd've gone nuts.

 * The Blur: You ever see one of those English Border Collies? Fast, strong, smarter than any other dog on the planet. But you got to keep them busy, you got to give 'em homework and projects and goals. I knew a guy had one, didn't keep its mind occupied, and over the summer it took apart his front porch with its bare teeth, board by board. You don't give a dog like that something important to do, a problem to solve, it goes crazy. And the last thing the world needs is somebody like you going crazy, you know what I'm saying?
 * Hyperion: I suppose.

 [The first meeting of Hyperion and Nighthawk, after a long, preachy monologue from Hyperion]
 * Hyperion: Anyway, I just wanted to tell you all that because I think what you're doing is well-intentioned, but you need to broaden your horizons a bit. So? Do you have anything to say?
 * Nighthawk: Yeah. I'd point out that you haven't done shit to stop those guys down there from doing what they're doing.
 * Hyperion: I try never to get between a professional and his work. Have a good night.
 * Nighthawk: Prick.

 * Dr. Bill Steadman: Was I talking to Corporal Joe Ledger or was I talking to the ship?

Issue #7

 * Bryce [on Hyperion]: I mean, Christ, why not just use him to rescue a cat stuck up in a tree somewhere in Jersey ?

 * Bryce [to Hyperion]: What the hell were you doing in China? You don't even have a passport, for chrissake...

 * Hyperion: If I should decide to go to China, or Argentina, or Australia, or anywhere else-- Who's going to stop me?

 * Doctor Spectrum [meeting Hyperion]: Big mistake, buddy. Big mistake.

Issue #8

 * Hyperion [after Doctor Spectrum hits him]: I felt that. I...felt that. This must be what pain feels like. Do it again.
 * Doctor Spectrum: Are you out of your--
 * Hyperion: I SAID DO IT AGAIN!

 * Hyperion [after taking Doctor Spectrum's full power]: My turn now.

 * Hyperion [touches the Doctor's crystal by accident and is given memories of his journey to Earth]: I don't... I don't understand--

 * Hyperion [seeing the destruction of wildlife after the fight]: I'm sorry... I'm sorry..I don't know what happened, I just... I'm sorry...

 * Last page: UBI DUBIUM, IBI LIBERTAS (LATIN) WHERE THERE IS DOUBT, THERE IS FREEDOM.

Issue #9

 * Dr. Bill Steadman [on Hyperion]: We thought we understood the limits of his abilities. We were wrong. He's been holding back.

 * General Casey [after arming the last defense weapon against Hyperion]: Ready when you are, you son of a bitch.

 * Hyperion: I've seen the files. You used me. Manipulated me. Tried to brainwash me into being the perfect citizen, somebody who would do what he was told, without asking questions. You faked the death of my so-called parents so I'd rely more on you, on the government. You put me through all that...
 * General Casey: Why not?
 * Hyperion: Why not?
 * General Casey: You're not human. You know that now. You look like us. But you're not one of us. So what difference does it make? You don't have any rights, we don't have any obligation to treat you one way or another. You're a weapon. My job was to make sure that weapon was pointed the right direction.
 * Hyperion: A weapon
 * General Casey: Yes. Nothing more.
 * Hyperion: You know what I could do to you right now, right ?
 * General Casey: I know. I know what you could do to all of us.

 * General Casey [last words before detonating twenty Daisy Cutters]: ...never, ever let your weapon fall into enemy hands.

 * Dr. Bill Steadman: Did it work? General? Did it work? General...?

Issue #10

 * Princess Zarda [kills an old woman and then looks at her own hairs, a few of which had been grey]: Gone now.

[Princess Zarda finds the injured Hyperion]
 * Princess Zarda: I'm here for you...I've come for you. I've come...to help you.
 * Hyperion: Who... who are you ?
 * Princess Zarda: I am the woman you love.
 * Hyperion: How can.. I don't even know you...
 * Princess Zarda: That will change. You will change. I'm here now. Here for you. Hold on.

[after Princess Zarda heals Hyperion]
 * Princess Zarda: Better now. Better. Yes.

Issue #11

 * Hyperion: Who are you?
 * Zarda: I had a name. Zarda. But I have not used it in a very long time. I have been waiting, all that time. Waiting for you.

 * Zarda: Most of it was in the dark, you see. But, I'm in the light now. It's beautiful. I'm beautiful.

 * Zarda: We're here to pave the way. For the others. We're here to rule. To conquer. To kill.

 * The Blur: Mr. Richmond? They said you wanted to see me.
 * Nighthawk: I did. I have a question for you, Stanley. A very important one.
 * The Blur: Yeah? What's that?
 * Nighthawk: Were you planning to actually do anything with your life, or are you content to be a walking, talking ad campaign for every racing, jogging and sporting-equipment sponsor on the planet?

 * Nighthawk: Wait. Take a good look, Stanley. What do you see?
 * The Blur: He cut their arms off he-
 * Nighthawk: No. Look closer. At the flesh, the finger-point bruises, the cartilage. Those arms weren't cut off. They were torn off. Whoever the killer is, he didn't just murder them... he tore them, limb from limb. Something like that takes a lot of strength... more than any normal person could possibly possess. There's someone else out there, Stanley. Someone like you, and Hyperion, with one difference. This one to likes to kill.

Issue #12

 * Nighthawk: So even though I don't like it, I took steps to bring in some help. If this guy really is one of you, we're going to need all the help we can get.
 * The Blur: Why the reluctance?
 * Nighthawk: I don't trust him.
 * The Blur: Because he's white?
 * Nighthawk: Because I don't trust him.
 * The Blur: Uh-huh.

 * The Blur: See, I lived all my life in the South, in Atlanta, and in all that time nobody--nobody--has ever described me or anybody I knew as "you people." Until you, just now. You got some serious issues, Mr. Richmond. Deal with them.

Issue #13

 * Hyperion: All right... we know that someone out there is killing prostitutes, mainly black, and tearing them limb from limb. Question is, what do we do about it? You invited me in on this, you must have had something in mind.
 * Nighthawk: Yeah, I did.

 * Hyperion: I'm not exactly on the best terms with the government right now.
 * Nighthawk: What, you guys have a falling-out or something?
 * Hyperion: Yeah, you could say that.

 * Nighthawk [to Hyperion]: You are the system.

 * Man [talking about Hyperion]: Old joke. Where does a six-hundred-pound gorilla sit? Answer: Anywhere he wants to.

 * Hooker: Mmmm...I like the way this feels, what is it, baby? Spandex? Lycra?
 * The Blur: It's...they say it's a special material, heat resistant...

 * Hooker [talking about The Blur]: Mmm, mmm... you ask me, that boy's been raised a little too close to his momma.

 * Redstone: Who sent you? What else came with you? I just broke two of your ribs. Three. Four. Answer my question. Or I take eyes next.
 * Nighthawk: ...go fuck yourself...hear that...? ...that's a sonic boom...company's coming...

Issue #14

 * General Richard Alexander [grilling the handlers of Project Hyperion]: You had access to an artifact from a non-human civilization! Do you realize what you had, and what you let get away from you? Do You? Then let me explain it to you! Imagine handing an F-16 to the Aztecs in 1521, when Cortez was at war with them, and instead of learning to fly so they could slice Cortez and his army to shreds, they cut off the wings to use as shields, the guns as clubs, and they take off the wheels because they figured they would look really cool hanging from the temple ceiling! This is exactly what you people and your agencies have been doing since day one, and worse still, you've been doing it in secret, not just from the public, which we expect, but from each other! As a result, the right hand doesn't know what the left hand is doing! And what has the left hand been doing all this time? Jerking off, that's what! And what've you got to show for it? One guy [Doctor Spectrum]! And a bunch of melted metal where the ship used to be!

 * Redstone [killing people]: Heads up...
 * Hyperion: No...No! You bastard...You bastard... You sonofabitch!

 * The Blur:...ohmygod...
 * Nighthawk: Stay focused. We're only going to have one shot at this. You're sure you can do this?
 * The Blur [seeing a dead woman]: Fucking A.

 * Doctor Spectrum [to Hyperion, who asks how Michael Redstone can even be taken into custody]: Because they built it to hold you if it ever became necessary.

 * Soldier [about Michael Redstone]: So, General Alexander...now what do we do with him?

Issue #15

 * Nighthawk: What mattered was bringing him to justice, in a court of law, where the families of the people he killed could get some fucking closure.
 * Hyperion: We never could have brought him in alive! The only way to bring him into a courtroom is if we dragged in his body and propped it up on the judge's desk!
 * Nighthawk:...You know what? I got no problem with that. No problem at all.

 * Nighthawk: A long time ago, my dad heard Malcolm X speak at a church in Memphis. He said that during the slave days, you had the House Negro, and the Field Negro. The House Negro lived in the master's house, ate the same food as the master, lived in a warm room, usually in the basement. If the master got a cold, he was right there to help out, all cheerful and friendly because he wanted his own life to be good and that meant making the master happy. The Field Negro ate whatever scraps the dogs didn't eat, lived out in a cold shack was beaten and kicked--And when the master got sick, he prayed every day the master would die. Didn't matter if the master was technically a nice guy or not. The master represented the system, and it was the system he hated.

 * Nighthawk: Our backgrounds may not line up, but as much as I like Stan, he's a house Negro. And I'm a field Negro. And that's never going to--[realizes Stanley has heard the conversation] change...
 * The Blur: Fuck. You.

 * Doctor Spectrum: No, sir. Like all good Americans, I get all my news from the Internet.

[Hyperion asks the Blur if he'd like to eat] [Hyperion and Blur are in a restaurant]
 * Hyperion: I heard somebody tell an old joke the other day. Where does a five-hundred-pound gorilla sit? Answer: anywhere he wants to.
 * The Blur: Am I gonna regret this?
 * Hyperion: Almost certainly.
 * The Blur: Raised in a bubble? Man, I can't even imagine what's that like.
 * Hyperion: It took me a long time to realize that they were conditioning me to be the perfect citizen. Guess I didn't want to accept it at first, even though I kind of suspected it all along. They knew they couldn't intimidate me, knew how strong I was, so they trained me to respect the law because the law is a concept, and as such it was the only thing bigger and stronger than I was. But that concept was only as strong as my belief in it.

 * Tom Thumb [seen in a flashback]: Hey! What the fuck are you looking?

 * General Richard Alexander: The question is simply this. Why? Why do you kill, Mr. Redstone?
 * Michael Redstone: Because I can. Because I'm good at it. And Because--because I like it.

 * General Richard Alexander: Smart bombs and dumb politicians do not a happy marriage make.

Issue #16
[General Alexander is working on a pocket watch while talking to his granddaughter.]
 * Lucy Alexander: Is it broke? Are you fixing it?
 * General Richard Alexander: No. I'm taking it apart.
 * Lucy Alexander: Why?
 * General Richard Alexander: To see what's inside.

 * Bar keeper: Anything? Anything at all?
 * Hyperion: No.
 * Bar keeper: That's fifteen beers, nine tequila shooters and three margaritas. Not even a buzz?
 * Hyperion: No.
 * Bar keeper: Dude, now that's a heart-breaker.

 * Hyperion's mother [to Jason Scott]: The world has to know... he can't be trusted. Because he's not one of us. He's...He's not Human.

Issue #17

 * General Richard Alexander: Hello, Mark. General Richard Alexander. Mind if I join you?
 * Hyperion: It's a free country. At least that's what I was told growing up, but it turns out that a lot of what I was taught isn't true.

 * Hyperion: I've decided I'm outside the system.
 * General Richard Alexander: And what exactly does that mean?

 * Doctor Spectrum: No...the children must not fight...the children must not fight...the--What the--!? Kingsley...?

 * Zarda: Better. Beautiful. Better. A new beginning. A fresh start. A new...me.

Issue #18

 * [a letter writen by Hyperion read by General Richard Alexander ]:
 * My name is Mark Milton. At least, that's the name I was given when I arrived here. What my real name is, where I come from, I may never know. And everything I once thought I did know... was a lie. If we are a product of the food we ate as a child... and I was raised on a diet of lies... then what am I? Who am I? Who am I to you? And maybe more importantly who are you... to me? I once asked the man I thought was my father, the man who said he was my father, do you love me?... I love you... as much as you love me. And now that equation is closed, the lie reciprocated. Thanks to you, I have my answer. And he has his. Lies. Lies. All lies. I called this country home. I was loyal. I believed. I believed in all of it. And you have destroyed it. That is, you have destroyed it within the borders of the country I had come to love. Perhaps you did not stop to think that there are other nations, for which this would not be a problem. I was not your first mistake. I was not even you worst mistake. But it was a mistake. One that I suspect you will, in time, come to regret. Your worst mistake... has not yet been made. That is the reason behind this letter. To warn you against making it. Where I go, I will go alone, and unimpeded. Otherwise, there will be consequences. Do not come after me. Do not send your people after me. Because I have decided to stop playing the game by the rules you have set up. Your game has a name. "The doctrine of proportionate response." Now, we will play a new game. My game. My rules. I want you to understand those rules. I want you to understand that I love this country. I love this country... as much as my country... loves me. That is the first thing I want you to understand. The second thing... will be self-explanatory. You have all this because you believe you have the power to act with impunity. You, who walk in the shadows, who play with life the way a child plays with blocks. You have no idea what power is. But at 8:30 p.m. Eastern standard time, your definition of power will become a bit clearer. Here's what you are going to do. You will not come looking for me. You will leave me alone. You will repair the damage you have done to my reputation. And will reconsider everything you think you know about me. Everything. This letter, and the North Pole geologic event at 8:30pm, which I estimate will register 10.5 on the Richter scale... the largest tectonic blast in recorded history, a seismic energy yield equal to a one teraton explosion...will constitute my last communication. Do not force me to send a second one. Stop what you are doing. Stop it now. Or I will end it for you.

Issue #1

 * Arcanna [Trying to explain her powers to the Shape]: What's in the bowl in front of you?
 * The Shape: Macaroni and cheese, the man said
 * Arcanna: Ah, that's what he said, but until you open the bowl, how do you know?
 * The Shape: Are you saying he lied?
 * Arcanna: No, I--
 * The Shape: Because that would be mean--
 * Emil Burbank: Someone kill me now.

Issue #2

 * Doctor Spectrum: What do you see?
 * Hyperion[Hovering in the air looking at the ravaged Ugandan village from above]: I see...Pretty much what I've come to expect of mankind.
 * Doctor Spectrum: Yeah, whatever.

 * Inertia[asking Joe Ledger about Nuke]: Hey, Joe...How come Al isn't getting into the fight? He's gonna miss all the fun.
 * Doctor Spectrum: We don't want to casually irradiate the area, so he's doing what all good tactical nukes do - Hanging over our heads as a last resort.

Issue #3

 * The Shape [On possessed Kingsley attacking him]: Fishie lady hurt Shape.
 * Emil Burbank: Yes, so she did...And that certainly places her behaviour in the plus column...But I'm putting her down anyway.

Issue #6

 * Staff Sergeant: We sent Ms. Kingsley to our Dolphin Research Center in South Carolina. Just to see if she could communicate with us any way other than through Corporal Ledger. (Shot of Kingsley swimming with dolphins, clearly enjoying herself) *Staff Sergeant: (voiceover) According to what I'm told - she's not taking her work too seriously.

 * Intelligence Agent [On Emil Burbank's claim that he knows how to defeat almost anyone in the Squadron]: How did you manage to come up with these solutions when we, with all our resources, failed? (Burbank writes on a notepad in front of him for a few seconds, then holds it up. It now reads 'Smartest Man on the Planet' with an arrow pointed at him.)

 * Leo T.K. [After Nighthawk has broken his right arm]: What're you-- --huccccch-- what're you doing? I thought-- thought you were a brother.
 * Nighthawk: A brother. A brother to somebody who exploits his own and poisons the neighborhood with drugs. Somebody who does more harm to the black community than a hundred guys in white sheets because you make feeding on black women look like something cool. Which of us here looks like a brother to a cockroach-- [Nighthawk slams Leo's head to the floor] And which one of us looks like a man?

[After Nighthawk has set the crack house on fire]
 * Leo T.K.: Wait...Wait, you can't leave me!
 * Nighthawk: Police'll be here soon. Ambulance too. You just got to get outside to meet them.
 * Leo T.K.: I can't--
 * Nighthawk: Sure you can. You just have to do what you made them do. Crawl.

 * Reporter: Another question Mr. Milton. You and the rest of the Squadron seem to have no qualms about using your power to bring down other nations, even though by doing so you rip vast parts of their society and infrastructure apart. Some people seem to think it's okay since they're third-world countries. Do you think they'd feel the same way if all that damage was being done right here in the good old U.S. of A? If, say, L.A. were torn apart during a big fight?
 * Hyperion: That voice -- (Reporter punches Hyperion; he is revealed as the villain Michael Redstone)
 * Redstone: The reason I ask is, we're about to find out.
 * Hyperion: Redstone...
 * Redstone: Round two, pal. Come one, let's get this party started!

Issue #7

 * Redstone [After punching Hyperion]: That sensation is pain, in case it's been so long you've forgotten what it was like.
 * Hyperion: How did you...get loose?
 * Redstone: Get loose? I've must've hit you harder than I thought. I didn't get loose. They turned me loose.

 * Redstone [After using flash-vision to evaporate the water from a swimming pool and killing the swimmers]: Intense. Really makes you understand why animal fat makes the best candles, doesn't it?

 * Redstone: Now where were we?
 * Nighthawk: Where were we? We... were just about to kick your sorry white ass. Punk.

Full Spectrum
(Joe Ledger meets the Crystal Weapon for the first time)
 [Joe sees one of his old girlfirends walk up to him]
 * Joe Ledger: Anna? What are you doing--
 * Crystal Weapon: SO YOU THINK THAT YOU CAN CONTROL ME?
 * Joe Ledger: You're not Anna
 * Crystal Weapon: YOU'RE RIGHT.
 * Joe Ledger: Where am I?
 * Crystal Weapon: THE QUESTION IS, WHERE AM I?

 * Crystal Weapon: THEY THINK THEY UNDERSTAND POWER...CONTROL...PUNISHMENT...YOU. THEY'RE ABOUT TO DISCOVER WHAT REAL POWER IS. WE'LL SHOW THEM WHAT REAL POWER IS. REAL CONTROL, REAL PUNISHMENT...AND THE REAL YOU.

 * Crystal Weapon: THEN CONFESS.
 * Crystal Weapon: WHO ARE YOU?
 * Joe Ledger: My mother's son.
 * Crystal Weapon: WHO ARE YOU?
 * Joe Ledger: My stepfather's killer.
 * Crystal Weapon: WHO ARE YOU?
 * Joe Ledger: A soldier
 * Crystal Weapon: WHO ARE YOU?
 * Joe Ledger: A lover
 * Crystal Weapon: WHO ARE YOU?
 * Joe Ledger: A killer
 * Crystal Weapon: WHO ARE YOU?
 * Joe Ledger:A Killer
 * Crystal Weapon: WHO ARE YOU?
 * Joe Ledger: I'm a murderer! I kill and I enjoy it!
 * Crystal Weapon: THEN NOW AT LAST, WE HAVE SOMETHING IN COMMON. NOW AT LAST..WE MAY BECOME ONE.

 * Crystal Weapon: COME JOE, DO YOU HEAR THE MUSIC? YOU WILL NEVER BE ALONE AGAIN. WHERE YOU ARE WEAK, I WILL BE STRONG. TOGETHER WE WILL PREPARE THE BEDROCK FOR THE NEW WORLD ON THE ASHES OF THE OLD. THE GLORY-- THE POWER-- I WILL GIVE YOU EVERYTHING YOUR HEART DESIRES. YOU WILL NEVER BE ALONE.

 * Crystal Weapon [last line]: NEVER ALONE

Issue One

 * Nighthawk: I'm not the law. Get back on the fucking ground.

 * White man [seeing three black men advancing on him]: Y-You can't fuckin' leave me here--!
 * Nighthawk: Yes. I can.

 * Steven Binst aka Whiteface [at trial]: Not Guilty

 * Deputy Mayor of Chicago: ...I think I'll pass. Late night?
 * Nighthawk: Long night.

 * Nighthawk [on his mask hiding his face]: This is my face. The only thing that I'm hiding... is the scars.

Issue Two

 * Woman: I Mean, what if Binst woke up and he had... changed?
 * Man: Into what... Something worse? C'mon... What could be worse?

 * Nighthawk: You and me are gonna talk. When we're doing talking, I'm gonna kill you. So the longer you talk, the longer you live. Understand?

 * ER Doctor: We got junkies droppin' like flies in here! Where the fuck is Arredondo?

Issue Three
[The Deputy Mayor hits him]
 * Mayor of Chicago: But it's only drug addicts, Glen.
 * Deputy Mayor of Chicago: What... The fuck did you just say?
 * Mayor of Chicago: I said.. "It's only drug addicts.
 * Deputy Mayor of Chicago: And they don't matter? Why? Because they don't fucking vote?!
 * Mayor of Chicago: Yeah. Pretty Much.
 * Deputy Mayor of Chicago: Mother-Fucker!

 * DEA Man: Crackheads are gonna smoke crack... Poisoned or not. They might ask a dealer if this is the "bad shit." Dealer's just gonna tell em "No...It's the good shit", and into the fuckin' pipe it goes.

 * Nighthawk: Michael Mahoney... and Nicolas Barone, the two sheriff's deputies that died two nights ago--
 * Federal Judge: They didn't "die"... You fucking murdered them, you goddamn vigilante fuck! You know they both had wives? and kids?

[After a press conference]
 * Mayor of Chicago: How did it sound?
 * Deputy Mayor of Chicago: Self-righteous... But good.

 * Steven Binst aka Whiteface [at six year birthday party for the Mayor's son]: Hi, kids. Is everbody ready to have a good time?

Issue Four
[Before a press conference]
 * Mayor of Chicago: I'm So... Fuckin' Ahsamed. I was Happy that all this "Drug Poisoning" shit was happening. I...I fuckin' Loved it. It Damn-near Guaranteed my re-election--All I had to do was...was look strong in the f-face of..of...of tragedy...

[At the press conference]
 * Mayor of Chicago: Nighthawk. Kill Him. Please...Please kill him. I'm...I can't (Shoot himself in the head)

Issue One

 * "I am alone" Frankenstein--Mary Shelley

 * General Richard Alexander [to Emil Burbank]: This is the first time we've had someone come to us saying that his power is that he's really, really smart.

 * General Richard Alexander: Dr.Burbank...We've established that you are a genius...Are you also invulnerable?
 * Emil Burbank: No, but what does that--
 * General Richard Alexander: As of five minutes ago, I am your commanding officer, and if you ever put a hand on me again, I will have you drilled in places you didn't even know you had. Is that clear?
 * Emil Burbank: Yes, Sir.

 * General Richard Alexander [after meeting the Shape]: The perfect soldier. Loyal. Trusting. Impervious. Strong. Used to be a janitor...can you believe it?

 * The Shape: You're a doctor?
 * Emil Burbank: Yes.
 * Shape: Are you gonna try to stick Shape with pins, like the other doctors?
 * Emil Burbank: Perhaps later.

 * Arcanna [on her powers]: It all starts with what physicists like to call the ultimate observer, one who can see all the quantum possibilities and choose which will become a physical reality.
 * General Richard Alexander: It sounds like magic.

 * Arcanna[to General Richard Alexander]: Have you ever heard of the Big Bang, General? In one quantum possibility...That's me.

 * General Richard Alexander [seeing Nuke]: How hot is he, Doc?
 * Doctor: It's literally off every scale we have, General. By all rights he should have reached critical mass a long time ago.

Issue Two

 * Hyperion: I told General Richard Alexander not to send anyone after me.
 * Emil Burbank: Yes, you did
 * Hyperion: But here you are.
 * Emil Burbank: Yes, we are.
 * Hyperion: So a ten-point-on-the-richter-scale tectonic event wasn't enough to convince him.
 * Emil Burbank: Apparently not. It's the military mindset, you know. Once they make a decision, that's it. Take that mountain. Take that fort. Take… well, anything they can, really.

 * Emil Burbank: How thoughtless... I've forgotten to introduce the members of my support team.
 * Arcanna: Support team...?!

 * Emil Burbank: So I'll cut right to the point, Mr. Milton. We were sent here to bring you back to the states in one of three possible forms. Dead. Alive. Or something in-between.

 * Emil Burbank [seeing the Shape fight Hyperion]: I understand it all has something or other to do with inertia...an object at rest and all that. One of those force-of-nature things, and you can't beat Mother Nature, you know.
 * Arcanna: You're actually enjoying this, aren't you?
 * Emil Burbank: We take our pleasures where we can, my dear.

 * Arcanna: So why am I Arcanna while he is Mr. Gaines? A bit sexist, isn't it?
 * Emil Burbank: It's not a lack of respect for you skills, my dear. But you haven't seen what Mr. Gaines is capable of and why his appellation of 'Nuke' is far from arbitary.

 * Emil Burbank[seeing Nuke fight Hyperion]: You know what's interesting about nuclear blasts, Arcanna? It isn't just the radiation, or the initial blast. It's the shockwaves. First, a precursor wave goes out in a perfect sphere of tremendous power, thousands of pounds of pressure per square inch. When its hits the ground, or Nuke's control field, the shock wave bounces back and multiplies the sheer force of the blast hundreds of times. Thus contained, the shockwave continues to bounce back and forth to unimaginable levels. It must be the next best thing to being caught in the heart of a star at the moment of its birth. And that, my dear, is why you are Arcanna...And he is Mr.Gaines. No offense intended.

 * Emil Burbank: What.. What was that?
 * Arcanna: I not sure. But I think all that energy, launched at the moment of quantum intersection, caused a--
 * The Shape: Boo-Boo?
 * Arcanna: Something like that.

 * Arcanna [seeing hovering above the city a group of superhumans including Hyperion, Doctor Spectrum, Zarda, Amphibian, Tom Thumb and several others never seen]: Oh...My... Emil, you better get that fifty story brain of yours over here--Because I think we're going to need it.

 * Emil Burbank seeing wounded Nighthawk: Well, Well..I'd say this was just a little bit unexpected, wouldn't you...?

Issue Three

 * Nighthawk: After a few years, more heroes showed up, like Blue Eagle, Lady Lark and Black Archer. They fought for the government, for big business... Morons.

[Nighthawk breaks Burbank's finger]
 * Emil Burbank [examining Nighthawk]: Hmmm... African-American male between the ages of twenty and forty... impressive physique... surly expression... No, nothing notable about -

title: Supreme Power


text:
User talk:Brown Shoes22~enwikiquote

Thanks for the Supreme Power entry. While I haven't read it, as a Marvel fan, and as someone who appreciates J. Michael Straczynski on Babylon 5, I can't wait to do so :) I have edited it a little, and added a cleanup tag. I can point you at Runaways and Spider-Girl for what I think of as good comic book formatting. As not many people here were interested in comic books, there isn't a wide consensus: I mostly copied the formatting of Television shows, which was useful. If you think that some things could be done better, it is quite possible they could: however, I would like visual uniformity on wikiquote, so if you do feel you want to do something different, I'd appreciate it if you dropped a note on my talk page, so we could discuss it. Thanks for your help! ~ MosheZadka (Talk) 17:47, 16 October 2005 (UTC)

Starting a new page
Hi. Did you have a look at Help:Starting a new page? I recommend using the "TV show" template for comic books. Thanks ~ MosheZadka (Talk) 06:42, 13 November 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Brown Shoes22. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Brown Shoes22~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:19, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:43, 19 April 2015 (UTC)

title: User talk:Brown Shoes22~enwikiquote


text:
User talk:66.57.95.79

~ MosheZadka (Talk) 17:52, 16 October 2005 (UTC)

title: User talk:66.57.95.79


text:
Talk:Enemies

De-stubbed and cleaned ~ DFA 04:38, 21 January 2006 (UTC) Enemies come from anger, Friends come from boredom. ~ SOUP

Unsourced

 * If you can provide a precise and verifiable source for any quote on this list please move it to.

 * If you love your enemies, you won't have any.
 * Anonymous
 * My enemy is my teacher. From them I can learn patience and restraint.
 * Buddist proverb
 * You have enemies? Good. That means you've stood up for something, sometime in your life.
 * Winston Churchill
 * I have no trouble with my enemies. I can take care of my enemies in a fight. But my friends, my goddamned friends, they're the ones who keep me walking the floor at nights!
 * Warren G. Harding
 * Forgive your enemies, but never forget their names.
 * John F. Kennedy
 * I destroy my enemy when I make him my friend.
 * Abraham Lincoln
 * Above all things, never be afraid. The enemy who forces you to retreat is himself afraid of you at that very moment.
 * André Maurois
 * Be a better person; make your enemies happy by giving them more reasons to hate you.
 * Shane O'Neill
 * We can learn even from our enemies.
 * Ovid
 * Lord have mercy on my enemies, cause I sure as hell won't.
 * General George S. Patton
 * I've always said that in politics, your enemies can't hurt you, but your friends will kill you.
 * Ann Richards
 * The rule is perfect: in all matters of opinion our adversaries are insane.
 * Mark Twain
 * Friends come and go, but enemies accumulate.
 * Unknown
 * Always forgive your enemies; nothing annoys them so much.
 * Oscar Wilde
 * An enemy is one who backstabs you, as opposed to a true friend who stabs you in the front.
 * Oscar Wilde

title: Talk:Enemies


text:
Jerry Siegel

Jerome Siegel (17 October 1914 – 28 January 1996) American writer, and (with Canadian-American artist Joe Shuster) the co-creator of Superman; he is most commonly known as Jerry Siegel.

Quotes

 * The Reign of the Superman
 * Title of Siegel's first published story of a "Superman" — one who was villainous. He later realized a character with super-powers could make a great comic book hero. (1933)

 * Superman! Champion of the oppressed. The physical marvel who had sworn to devote his existence to helping those in need.
 * First introduction of "Superman" as "Clark Kent" in Action Comics #1 (June 1938)

 * In the January, 1933 issue of "SCIENCE FICTION" appeared a story I had written in 1932 entitled, "The Reign of the Superman." I used the pseudonym "Herbert S. Fine" which combined the name of a cousin of mine together with my mother's maiden name. After the publication of "Reign of the Superman", it occurred to me that a different version of Superman could be the basis of an extremely powerful and successful comic book.  And so I originated, together with Joe Shuster, the comic book "THE SUPERMAN", back in 1933.
 * "Happy Anniversary, Superman!" (1983)

In the beginning (1983)
Essay online
 * As a science fiction fan, I have long been very familiar with the various themes in the field. The superman theme has been one of them ever since Samson and Hercules. I just sat down and wrote a story of that type — only in this first story, the Superman was a villain. A couple of months after I published this story, it occurred to me that a Superman as a hero rather than as a villain might make a great comic strip character in the vein of Tarzan, only more super and sensational than that great character. Joe and I drew it up as a comic book.

 * Clark Kent grew not only out of my private life, but also out of Joe Shuster's. As a high school student, I thought that someday I might become a reporter, and I had crushes on several attractive girls who either didn't know I existed or didn't care I existed.

 * One night, when all the thoughts were coming to me, the concept came to me that Superman could have a dual identity, and that in one of his identities he could be meek and mild, as I was, and wear glasses, the way I do. The heroine, who I figured would be some kind of girl reporter, would think he was some kind of worm; yet she would be crazy about this Superman character who could do all sorts of fabulous things. In fact, she was real wild about him, and a big inside joke was that the fellow she was crazy about was also the fellow whom she loathed.

 * Initially, we were turned down by almost every comics publisher in the country.

title: Jerry Siegel