Amusement Park Fun Quotes

The world is like a ride in an amusement park. And when you choose to go on it you think it's real because that's how powerful our minds are. And the ride goes up and down and round and round. It has thrills and chills and it's very brightly coloured and it's very loud and it's fun, for a while. Some people have been on the ride for a long time and they begin to question: "Is this real, or is this just a ride?" And other people have remembered, and they come back to us, they say, "Hey, don't worry, don't be afraid, ever, because this is just a ride." And we kill those people.

The world is like a ride in an amusement park, and when you choose to go on it you think it's real because that's how powerful our minds are. The ride goes up and down, around and around, it has thrills and chills, and it's very brightly colored, and it's very loud, and it's fun for a while. Many people have been on the ride a long time, and they begin to wonder, "Hey, is this real, or is this just a ride?" And other people have remembered, and they come back to us and say, "Hey, don't worry; don't be afraid, ever, because this is just a ride." And we … kill those people. "Shut him up! I've got a lot invested in this ride, shut him up! Look at my furrows of worry, look at my big bank account, and my family. This has to be real." It's just a ride. But we always kill the good guys who try and tell us that, you ever notice that? And let the demons run amok … But it doesn't matter, because it's just a ride. And we can change it any time we want. It's only a choice. No effort, no work, no job, no savings of money. Just a simple choice, right now, between fear and love. The eyes of fear want you to put bigger locks on your doors, buy guns, close yourself off. The eyes of love instead see all of us as one. Here's what we can do to change the world, right now, to a better ride. Take all that money we spend on weapons and defenses each year and instead spend it feeding and clothing and educating the poor of the world, which it would pay for many times over, not one human being excluded, and we could explore space, together, both inner and outer, forever, in peace.

Karrin." She looked up at me. She looked very young somehow. "Remember what I said yesterday," I said. "You're hurt. But you'll get through it. You'll be okay." She closed her eyes tightly. "I'm scared. So scared I'm sick." "You'll get through it." "What if I don't?" I squeezed her fingers. "Then I will personally make fun of you every day for the rest of your life," I said. "I will call you a sissy girl in front of everyone you know, tie frilly aprons on your car, and lurk in the parking lot at CPD and whistle and tell you to shake it, baby. Every. Single. Day." Murphy's breath escaped in something like a hiccup. She opened her eyes, a mix of anger and wary amusement easing into them in place of fear. "You do realize I'm holding a gun, right?

Books are fun, Nicholas, he says, they're like amusement parks for readers. Yeah, well, maybe they would be fun if I got to pick the rides sometimes, you answer

No, we love war. War. Starvation. Plague. They fast-track us to enlightenment. “It's the mark of a very, very young soul,” Mr. Whittier used to say, “to try and fix the world. To try and save anyone from their ration of misery.” We have always loved war. We are born knowing that war is why we're here. And we love disease. Cancer. We love earthquakes. In this amusement-park fun house we call the planet earth, Mr. Whittier says we adore forest fires. Oil spills. Serial killers.

But where will this mania for entertainment end? What will people do when they get tired of television? When they get tired of movies? We already know the answer—they go into participatory activities: sports, theme parks, amusement rides, roller coasters. Structured fun, planned thrills. And what will they do when they tire of theme parks and planned thrills? Sooner or later, the artifice becomes too noticeable. They begin to realize that an amusement park is really a kind of jail, in which you pay to be an inmate. ‘This artifice will drive them to seek authenticity. Authenticity will be the buzzword of the twenty-first century. And what is authentic? Anything that is not devised and structured to make a profit. Anything that is not controlled by corporations. Anything that exists for its own sake and assumes its own shape. But of course, nothing in the modern world is allowed to assume its own shape. The modern world is the corporate equivalent of a formal garden, where everything is planted and arranged for effect. Where nothing is untouched, where nothing is authentic.

Electric cars may be fun at amusement parks, where they don’t have to go very far or very fast. But if the consuming public wanted electric cars for regular use, Detroit would be manufacturing them by the millions. Only people infatuated with their own wonderful specialness would think that their job is to coerce both the manufacturers and the consuming public into something that neither of them wants.

Dear Dad: After twenty-two years in the amusement park, this roller coaster isn’t fun any more, so I’m getting off the ride. Roger

Every kid had heard of Fun Town, been there or envied someone who had. In the third cut on side A, Dr. King spoke of how his daughter longed to visit the amusement park on Stewart Avenue in Atlanta. Yolanda begged her parents whenever

The world is like a ride in an amusement park, and when you choose to go on it you think it's real because that's how powerful our minds are. The ride goes up and down, around and around, it has thrills and chills, and it's very brightly colored, and it's very loud, and it's fun for a while. Many people have been on the ride a long time, and they begin to wonder, "Hey, is this real, or is this just a ride?" And other people have remembered, and they come back to us and say, "Hey, don't worry; don't be afraid, ever, because this is just a ride." And we … kill those people. "Shut him up! I've got a lot invested in this ride, shut him up! Look at my furrows of worry, look at my big bank account, and my family. This has to be real." It's just a ride. But we always kill the good guys who try and tell us that, you ever notice that? And let the demons run amok … But it doesn't matter, because it's just a ride. And we can change it any time we want. It's only a choice. No effort, no work, no job, no savings of money. Just a simple choice, right now, between fear and love.

What kind of world have we built when it is more acceptable to ask for sex than a cuddle session? … Have we so stripped our sexuality of inherent value that it becomes the sacrificial lamb on the altar of connection, because everything else is too precious to risk? I'm the first one to say that my body is an amusement park, and I like to have fun with it – and let other people ride it – but there is still a divinity in it. It is no less precious than our fears, our smiles, our hopes, our tears. And this goes not just for women, but for all people. I've known men and dominants who felt they could be vulnerable only during sex, and so they would ask for that instead of talking about what was bothering them, or even simply as a distraction from their own thoughts and troubles.

Boys are rewarded for playing games where they line up by height and then run into walls. Perhaps I'm making that up--or perhaps you should do a Google search for "Guy Runs into Wall for Fun." Not only do women hold up half the sky; we do it while carrying a 500-pound purse. From age sixteen to age twenty, a woman's body is a temple. From twenty-one to forty-five, it's an amusement park. From forty-five on, it's a terrarium. Bring your sense of humor with you at all times. Bring your friends with a sense of humor. If their friends have a sense of humor, invite them, too

Dr. King spoke of how his daughter longed to visit the amusement park on Stewart Avenue in Atlanta. Yolanda begged her parents whenever she spotted the big sign from the expressway or the commercials came on TV. Dr. King had to tell her in his low, sad rumble about the segregation system that kept colored boys and girls on the other side of the fence. Explain the misguided thinking of some whites—not all whites, but enough whites—that gave it force and meaning. He counseled his daughter to resist the lure of hatred and bitterness and assured her that “Even though you can’t go to Fun Town, I want you to know that you are as good as anybody who goes into Fun Town.

Ducking ponds where dogs chased ducks were popular amusements at parks, and sometimes, to increase the fun, an owl would be tied to the duck’s back, which caused it to dive in terror until one or both of the birds died.

But it isn’t the fun of DIY invention, urban exploration, physical danger, and civil disorder that the Z-Boys enjoyed in 1976. It is fun within serious limits, and for all of its thrills it is (by contrast) scripted. And rather obedient. The fact that there are public skateparks and high-performance skateboards signals progress: America has embraced this sport, as it did bicycles in the nineteenth century. Towns want to make skating safe and acceptable. The economy has more opportunity to grow. America is better off for all of this. Yet such government and commercial intervention in a sport that was born of radical liberty means that the fun itself has changed; it has become mediated. For the skaters who take pride in their flashy store-bought equipment have already missed the Z-Boys’ joke: Skating is a guerrilla activity. It’s the fun of beating, not supporting, the system. P. T. Barnum said it himself: all of business is humbug. How else could business turn a profit, if it didn’t trick you with advertising? If it didn’t hook you with its product? This particular brand of humbug was perfected in the late 1960s, when merchandise was developed and marketed and sold to make Americans feel like rebels. Now, as then, customers always pay for this privilege, and purveyors keep it safe (and generally clean) to curb their liability. They can’t afford customers taking real risks. Plus it’s bad for business to encourage real rebellion. And yet, marketers know Americans love fun—they have known this for centuries. And they know that Americans, especially kids, crave autonomy and participation, so they simulate the DIY experience at franchises like the Build-A-Bear “workshops,” where kids construct teddy bears from limited options, or “DIY” restaurants, where customers pay to grill their own steaks, fry their own pancakes, make their own Bloody Marys. These pay-to-play stores and restaurants are, in a sense, more active, more “fun,” than their traditional competition: that’s their big selling point. But in both cases (as Barnum knew) the joke is still on you: the personalized bear is a standardized mishmash, the personalized food is often inedible. As Las Vegas knows, the house always wins. In the history of radical American fun, pleasure comes from resistance, risk, and participation—the same virtues celebrated in the “Port Huron Statement” and the Digger Papers, in the flapper’s slang and the Pinkster Ode. In the history of commercial amusement, most pleasures for sale are by necessity passive. They curtail creativity and they limit participation (as they do, say, in a laser-tag arena) to a narrow range of calculated surprises, often amplified by dazzling technology. To this extent, TV and computer screens, from the tiny to the colossal, have become the scourge of American fun. The ubiquity of TV screens in public spaces (even in taxicabs and elevators) shows that such viewing isn’t amusement at all but rather an aggressive, ubiquitous distraction. Although a punky insurgency of heedless satire has stung the airwaves in recent decades—from equal-opportunity offenders like The Simpsons and South Park to Comedy Central’s rabble-rousing pundits, Jon Stewart and Stephen Colbert—the prevailing “fun” of commercial amusement puts minimal demands on citizens, besides their time and money. TV’s inherent ease seems to be its appeal, but it also sends a sobering, Jumbotron-sized message about the health of the public sphere.

He pulled her upright and they stood facing each other, her hands in his. Again with the held breaths, the locked gazes. Twice in a row. It was almost too much! And Jane wanted to stay in that moment with him so much, her belly ached with the desire. “Your hands are cold,” he said, looking at her fingers. She waited. They had never practiced this part and the flimsy play gave no directions, such as, Kiss the girl, you fool. She leaned in a tiny bit. He warmed her hands. “So…” she said. “I suppose we know our scene, more or less,” he said. Was he going to kiss her? No, it seemed nobody ever kissed in Regency England. So what was happening? And what did it mean to fall in love in Austenland anyway? Jane stepped back, the weird anxiety of his nearness suddenly making her heart beat so hard it hurt. “We should probably return. Curtain, or bedsheet, I should say, is in two hours.” “Right. Of course,” he said, though he seemed a little sorry. The evening had pulled down over them, laying chill like morning dew on her arms, right through her clothes and into her bones. Though she was wearing her wool pelisse, she shivered as they walked back to the house. He gave her his jacket. “This theatrical hasn’t been as bad as you expected,” Jane said. “Not so bad. No worse than idle novel reading or croquet.” “You make any entertainment sound like taking cod liver oil.” “Maybe I am growing weary of this place.” He hesitated, as though he’d said too much, which made Jane wonder if the real mad had spoken. He cleared his throat. “Of the country, I mean. I will return to London soon for the season, and the renovations on my estate will be completed by summer. It will be good to be home, to feel something permanent. I tire of the guests who come and go in the country, their only goal to find some kind of amusement, their sentiments shallow. It wears on a person.” He met her eyes. “I may not return to Pembrook Park. Will you?” “No, I’m pretty sure I won’t.” Another ending. Jane’s chest tightened, and she surprised herself to identify the feeling as panic. It was already the night of the play. The ball was two days away. Her departure came in three. Not so soon! Clearly she was swimming much deeper in Austenland waters than she’d anticipated. And loving it. She was growing used to slippers and empire waists, she felt naked outside without a bonnet, during drawing room evenings her mouth felt natural exploring the kinds of words that Austen might’ve written. And when this man entered the room, she had more fun than she had in four years of college combined. It was all feeling…perfect.

That was just like a ride,” he said. “Did you see me going around in there? Like a fun house, right? Like an amusement park. I ride all those rides. I’m used to that sort of thing. I sit right up front.

I just realised I haven’t asked what you do for a living.’ Laura’s words brought me back to the office. ‘I am an actuary,’ I said. ‘Well, I gave my notice two weeks ago.’ ‘Because of YouMeFun?’ I shook my head. ‘I didn’t know about this park at the time. I resigned because I couldn’t stand watching my workplace turn into a playground. Then I inherited one.’ Was Laura Helanto smiling? I didn’t think I’d said anything amusing. She had raised a hand in front of her mouth. When she lowered it again, her expression was neutral.

How Sisyphus and his myth of pointless endeavor chimes with me now is as a tale of recognition of the cyclical nature of all things, even and perhaps especially enlightenment. This commitment must be renewed daily; it is never permanently arrived at. The poet Rumi has a line: “Tomorrow you will awake frightened and alone.” When I heard that recited, I thought, “Fuck. I will an’ all; I always do.” Each morning, a new commitment is required to hand over my will, to relinquish my own ideas as to how my life should be, knowing that method always leads to trouble. Bill Hicks said, “The world is like a ride in an amusement park. It has thrills and spills and it is very brightly colored, and it’s very loud and it’s fun, for a while. Some people have remembered and they come back to us. They say, ‘Hey … don’t be afraid, this is just a ride,’ and we … kill those people!” Rumi, Kierkegaard, and perhaps Bill himself have left clues and codes for us to help us to disentangle from the pain material, sensorial fixation. All prophecies stripped of acculturation and geographic ornamentation seem only to be saying, “Journey within; look behind your feelings, beyond your pain; fashion your world from what you find there.” What we inhabit now is a world built upon the feelings and fears that the prophets are telling us to overcome

Seek to align with exploring and adventure! Consider it like a fun aspect or similar to an amusement park ride. You are here, you passed the; you must be at least this spiritually tall requirement to ride the Planet Terra Tilt-a-Whirl. So now HAVE FUN!

Another dead body at the amusement park,” she said. “Wholesome family fun at its finest.