Billboard Sign Quotes

Oh Beautiful for smoggy skies, insecticided grain, For strip-mined mountain's majesty above the asphalt plain. America, America, man sheds his waste on thee, And hides the pines with billboard signs, from sea to oily sea.

I come to a red light, tempted to go through it, then stop once I see a billboard sign that I don’t remember seeing and I look up at it. All it says is 'Disappear Here' and even though it’s probably an ad for some resort, it still freaks me out a little and I step on the gas really hard and the car screeches as I leave the light.

Ryodan doesn’t like Mac. He never has. She got between him and his best boy-bud. I give him a look. “I’ll tell you a secret, Ryodan. You mess with her, Barrons’ll kill you.” I drag a finger across my neck. “Just like that. You aren’t all that. Barrons’ll stomp your ass, hand’s down.” He smiles faintly. “I’ll be damned. You have a crush on Barrons.” “I do not have a crush—“ “You do, too. It’s all over your face. Anybody could see it.” “Sometimes, boss, you’re just wrong.” “I’m never wrong. You might as well take out a billboard. ‘Dani O’Malley thinks Jericho Barrons is hot.’ My offer to teach you is still open. Save you from future embarrassment. If I can see it on your face, he can, too. ” “He never figured it out before,” I grumble then realize I just admitted it. Ryodan has a tricky way of wording things that makes you say things you didn’t mean to say. “Maybe I’ll ask Barrons to teach me,” I mutter and turn away from the stairs, heading for his office. I run smack into his chest. “Dude, move. Trying to get somewhere here.” “No one but me is ever going to teach you, Dani.” He touches me before I see it coming, has his hand under my chin, turning my face up. My shiver is instant and uncontrollable. “That’s non-negotiable. You signed a contract with me that grants exclusivity. You won’t like it if you try to break it.

If it had writing, I read it: cereal boxes, ads on the subway, billboards, highway signs. I

Of course, we and our animal cousins are quickly alerted to signs of opportunities to mate or to feed, and advertisers design billboards accordingly.

people should be careful of only looking for signs from God.” Remember the Devil can put up billboards too.

Everything is more meaningful because it is connected to the earth. There are no signs to read, no billboards or neon messages; instead I read the hills and the fields and the farmhouses and the sky. The houses, made of mud and stone and wood, are not hermetically sealed. The wind blows in through the cracks, the night seeps in through the rough wooden window slats.The line between inside and outside is not so clear.

It was like hundreds of roads he'd driven over - no different - a stretch of tar, lusterless, scaley, humping toward the center. On both sides were telephone poles, tilted this way and that, up a little, down... Billboards - down farther an increasing clutter of them. Some road signs. A tottering barn in a waste field, the Mail Pouch ad half weathered away. Other fields. A large wood - almost leafless now - the bare branches netting darkly against the sky. Then down, where the road curved away, a big white farmhouse, trees on the lawn, neat fences - and above it all, way up, a television aerial, struck by the sun, shooting out bars of glare like neon. ("Thompson")

If you ask God the wrong question, don't expect Him to protect you from hearing the wrong answer. (Meaning: If you ask God whether you should cheat on your wife, don't consider a couple of falling stars or a billboard saying "Just do it" as a sign from above.)

A famous cigarette billboard pictures a curly-headed, bronze-faced, muscular macho with a cigarette hanging out the side of his mouth. The sign reads 'Where a man belongs.' That is a lie. Where a man belongs is at the bedside of his children, leading in devotion and prayer. Where a man belongs is leading his family to the house of God. Where a man belongs is up early and alone with God seeking vision and direction for the family.

The start of sin and destruction, discouragement and darkness, always happened with single thought. He couldn't stop that. Wrong thoughts were like the billboard signs on the highway of life. They were bound to come. Victory or defeat depended on how he handled the thought. "Take every thought captive to the obedience of Christ." The scripture from 2 Corinthians 10:5 came back to him now, the way it had countless other times. He grabbed the wayward thought and pushed it from his heart and mind. He wouldn't be afraid. Whatever happened... God was in control. He had nothing to fear. The Lord had worked a miracle to this point. He wasn't finished yet.

Our group pressed west on what was left of Highway 93, toward the pass leading to Las Vegas. Sand covered the road in loose drifts so deep the horses' hooves sank into them. The metal highway signs were bent low by the strong wind, and above us, billboards that once screamed ads for the casinos were now stripped of their promises of penny slots and large jackpots. The raw boards underneath were exposed, like showgirls without their makeup. Some signs had been blown over completely and lay half-buried under mounds of sand, like sleeping animals. Cars dotted the highway, their paint scoured off and dead tumbleweeds caught underneath them. Their windows were fogged with death, and despite my effort not to look, my eyes were drawn to the blurred images of the still forms inside. I tried to concentrate on the dark road ahead of us instead.

But his eyes stutter over a TGI Fridays and he twitches a little, lip curling in involuntary distaste. Something about its facade feels foreign, intrusive, jarring. A tiny, cluttered shoe-repair shop next to it does not elicit the same feeling, nor does a vape shop next door. Just the chain stores that Manny sees—a Foot Locker, a Sbarro, all the sorts of stores one normally finds at a low-end suburban mall. Except these mall stores are here, in the heart of Manhattan, and their presence is… not truly harmful, but irritating. Like paper cuts, or little quick slaps to the face. The subway sign, though, feels right and real. The billboards, too, no matter what’s on them. The cabs, and flow of cars and people—all these things soothe the irritants, somehow. He draws in a deep breath that reeks of hot garbage and acrid steam belching from a manhole cover nearby, and it’s foul but it’s right.

It’s been a long time since I’ve passed through here, and wherever I look, all the changes constantly reassert the absence of anything Palestinian: the names of cities and villages on road signs, billboards written in Hebrew, new buildings, even vast fields abutting the horizon on my left and right.

It’s not only this village, Mr. Baker. Just because you don’t experience prejudice in your everyday doesn’t stop it from existing for the rest of us.” SEE SOMETHING, SAY SOMETHING, the sign on the bus had read. And everywhere, really, wasn’t it? More and more lately. On buses. In newspapers. Billboards. Radio ads. Why, he’d even seen the words printed on a grocery bag of all places. “No,” he said slowly. “I don’t suppose it does.

There were streets, narrow and crowded with people and vehicles. Above them flashed neon lights and blinking billboards of every colour, shape and size. Some ran up the sides of buildings, others blinked on and off in store windows. In the space above the sidewalk, higher than a double-decker bus, hung flashing neon signs in bright pink, yellow, read, blue, orange, green and white. Yes, if white could be whiter than white, it was when it was in neon, Hong Mei thought. She knew Nathan Road in Kowloon was famous for its neon lights.

The dismembered limbs of dolls and puppets are strewn about everywhere. Posters, signs, billboards, and leaflets of various sorts are scattered around like playing cards, their bright words disarranged into nonsense. Countless other objects, devices, and leftover goods stock the room, more than one could possibly take notice of. But they are all, in some way, like those which have been described. One wonders, then, how they could add up to such an atmosphere of…isn’t repose the word? Yes, but a certain kind of repose: the repose of ruin.

The cars and trucks that passed this way threw their trash out into the forest without pause, faster than the gleaners could pick them up and find new uses for them. The waste had always struck Maceo as a disgusting mystery, but now, it made sense. The indestructible plastic bottles and wrappers that rained on the ground were not merely trash, but seeds—diabolical harbingers of the alien ecology of metal and plastic and advertising that had already swallowed the coast. It was a hostile invader that no one else seemed to want to fight. The dead-eyed souvenir-hawkers at Coba sold the products the signs foretold; beside the road to the ruins of the once-sacred ceremonial city, a looming image of golden arches promised a still-greater ritual awaiting them in Valladolid—the devouring of machine-made ghost-food. Maceo could not read the words on the billboards, but he knew that they sought to infect their victims with the virus of desire.

Kenilworth, Mountainside, Scotch Plains, Dunellen... they themselves seemed far from Jersey: names out of Waverley novels, promising vistas of castles, highland waterfalls, and meadows dotted with flocks of grazing sheep. But the signboards lied, the books had lied, the Times had lied; the land here was one vast and charmless suburb, and as the bus passed through it, speeding west across the state, Freirs saw before him only the flat grey monotony of highway, broken from time to time by gas stations, roadhouses, and shopping malls that stretched away like deserts. The bus was warm, and the ride was beginning to give him a headache. He could feel the backs of his thighs sweating through his chinos. Easing himself farther into the seat, he pushed up his glasses and rubbed his eyes. The scenery disappointed him, yet it was still an improvement over what they'd just come through. Back there, on the fringes of the city, every work of man seemed to have been given over to the automobile, in an endless line of showrooms and repair shops for mufflers, fenders, carburetors, ignitions, tires, brakes. Now at last he could make out hills in the distance and extended zones of green, though here and there the nearness of some larger town or development meant a length of highway lined by construction, billboards touting banks or amusement parks, and drive-in theaters, themselves immense blank billboards, their signs proclaiming horror movies, "family pictures," soft-core porn. A speedway announced that next Wednesday was ladies' night. Food stands offered pizzaburgers, chicken in the basket, fish 'n' chips.

The society’s ‘look’ is a self-publicizing one. The American flag itself bears witness to this by its omnipresence, in fields and built-up areas, at service stations, and on graves in the cemeteries, not as a heroic sign, but as the trademark of a good brand. It is simply the label of the finest successful international enterprise, the US. This explains why the hyperrealists were able to paint it naively, without either irony or protest (Jim Dine in the sixties), in much the same way as Pop Art gleefully transposed the amazing banality of consumer goods on to its canvases. There is nothing here of the fierce parodying of the American anthem by Jimi Hendrix, merely the light irony and neutral humour of things that have become banal, the humour of the mobile home and the giant hamburger on the sixteen-foot long billboard, the pop and hyper humour so characteristic of the atmosphere of America, where things almost seem endowed with a certain indulgence towards their own banality. But they are indulgent towards their own craziness too. Looked at more generally, they do not lay claim to being extraordinary; they simply are extraordinary. They have that extravagance which makes up odd, everyday America. This oddness is not surrealistic (surrealism is an extravagance that is still aesthetic in nature and as such very European in inspiration); here, the extravagance has passed into things. Madness, which with us is subjective, has here become objective, and irony which is subjective with us has also turned into something objective. The fantasmagoria and excess which we locate in the mind and the mental faculties have passed into things themselves. Whatever the boredom, the hellish tedium of the everyday in the US or anywhere else, American banality will always be a thousand times more interesting than the European - and especially the French - variety. Perhaps because banality here is born of extreme distances, of the monotony of wide-open spaces and the radical absence of culture. It is a native flower here, asis the opposite extreme, that of speed and verticality, of an excess that verges on abandon, and indifference to values bordering on immorality, whereas French banality is a hangover from bourgeois everyday life, born out of a dying aristocratic culture and transmuted into petty-bourgeois mannerism as the bourgeoisie shrank away throughout the nineteenth century. This is the crux: it is the corpse of the bourgeoisie that separates us. With us, it is that class that is the carrier of the chromosome of banality, whereas the Americans have succeeded in preserving some humour in the material signs of manifest reality and wealth. This also explains why Europeans experience anything relating to statistics as tragic. They immediately read in them their individual failure and take refuge in a pained denunciation of the merely quantitative. The Americans, by contrast, see statistics as an optimistic stimulus, as representing the dimensions of their good fortune, their joyous membership of the majority. Theirs is the only country where quantity can be extolled without compunction.

Your grandpa said already that propaganda is a governmental function. It has nothing to do with business. Furthermore, the government needs to bring its ideas across to the public and needs to resort to effective methods. Therefore, it encourages gifted speakers to explain the government plans. Besides that, the government is most certainly allowed to stick signs on billboards. Since the signs reflect the doctrine of the government it is not against the law.” “Harold, think about it. Are you saying that the government can proclaim whatever it wants because it makes the laws and therefore is able to get away with outright lies?” Karl’s grandpa wanted to be sure that he understood what Harold had been taught. “I don’t know about outright lies, but yes, our government is allowed to make the laws. Therefore, it is able to proclaim or to deny without coming into conflict with the laws.” Harold was unyielding. The old man Veth nodded in agreement. “Alright, Harold, now think before you answer. Considering your previous point about advertising would you now come to the conclusion that the propaganda of our government is self-serving?” Harold did not miss a beat. “Of course our government is self-serving. I don’t think that there is any difference between our government and other governments. They are always self-serving.” “Then you don’t even think about the fact that Herr Hitler can say what he wants, but that we citizens are in jeopardy if we don’t agree with him.” Herr Veth wanted to turn this conversation into a lesson. Harold showed that he was indeed already too long in the rain. “No Herr Veth, Herr Hitler does not say what he wants. He is only taking measures to assure that we are building an eternal empire. It will last at least a 1,000 years because we will eradicate the mentally ill by not permitting them to reproduce and also by sterilizing their roots. We will also abolish any vagrants and quacks, regardless of their faith, by sending them to labor camps. If any nonproductive person does not like our restraints they are free to migrate to other countries, which will suffer by this fact and therefore will never be of any competition to our disciplined nation.” Karl was stunned by Harold’s outpouring. “Harold, what is the matter with you? Don’t you realize that you are sounding like a member of the Nazi party?” Harold turned to face his friend. “No, Karl, I don’t sound like a Nazi. Discipline and productivity are the hallmarks of our Prussian culture and upbringing. There is nothing wrong with it.” Herr Veth intertwined. “There is something wrong with using the Prussian discipline to control young minds. Herr Hitler is using the very core of our

the South Brooklyn seaside neighborhood was now showing signs of finally succumbing to the real estate developers. As the taxi wound through funky little side streets, I spotted a billboard advertising the IKEA warehouse located just off the Gowanus Expressway. Wine bars and condos wouldn’t be far behind.

The brothers stopped for a quick lunch along the way, and arrived at the outskirts of Kenworthy an hour later with Frank at the wheel. “Keep an eye open for a place to stay,” he said as he reduced speed. They passed several motels, none of which looked particularly inviting. “Hey, Frank, what about that place up ahead?” Joe suggested. A large billboard announced that the Palm Court Motel offered the traveler the latest luxuries. “Not a bad-looking place.” Frank pulled into a driveway which led to a cottage with a simulated thatched roof. It bore the sign OFFICE. To the left stretched a long, low building made up of the motel units. Before each door stood an artificial palm tree. Frank and Joe got out and looked around. To the right of the office they counted twelve neat little cottages of the same thatched-roof variety. The ubiquitous palm tree stood before each one. “Kind of corny,” Joe remarked. “But comfortable looking,” his brother said. “We might do worse.

Here are many of the most common default signs sent by the Other Side: Birds and butterflies Deer Electrical events (often with cellphones) Coins appearing in our path Rainbows Pictures Slogans Billboards Magazines License plates Street signs Music/songs Feathers Ladybugs Numerical sequences There is a reason the Other Side uses these things as signs: They tend to be easier for us to recognize—and easier for them to manipulate and put in our path.

An image began to form in her mind. There were streets, narrow and crowded with people and vehicles. Above them flashed neon lights and blinking billboards of every colour, shape and size. Some ran up the sides of buildings, others blinked on and off in store windows. In the space above the sidewalk, higher than a double-decker bus, hung flashing neon signs in bright pink, yellow, red, blue, orange, green and white. Yes, if white could be whiter than white, it was when it was in neon, Hong Mei thought. She knew Nathan Road in Kowloon was famous for its neon lights. Were these streets of Kowloon that she was seeing it her head?

Those signs start at the top of the state, between the population centers, facing north on the interstate, nestled among all the other billboards that are only designed to reach out-of-state travelers driving south into Florida. So now you got signs for truck stops, motels with free Wi-Fi, citrus stands, fast food, and pictures of car crashes with jagged red lettering to remind people that they might be in pain from something that happened in Cleveland. I mean how does that work? Are this many people suddenly making major medical decisions on vacation? When you’re driving to Niagara Falls, do you see a hundred miles of billboards for joint-replacement surgery, ‘Call 1-800-HIP-OUCH’? . . . Or is it an impulse thing: ‘Let’s see, I’ve been on the road for hours, so I need to stop for gas, use the restroom, get a Big Mac and develop a drug problem.

The only thing to see is the obligatory third-world Coke billboard, ironic in exact proportion to the distance from its proper American context. This one says COKE—MAKE IT REAL. Just after the Coke sign there is a contrary sign, an indication that irony is not a currency in Liberia. It is worn by a girl who leans against the exit in a T-shirt that says THE TRUTH MUST BE TOLD.

If Ellie’s interest in Josh was a flashing neon sign, Marshall’s interest in Ellie was a full-blown billboard complete with floodlights and ten-foot-high letters spelling out I LOVE ELLIE.

stumble across an illustration, or a tattoo, or a photo, at precisely the right moment. That’s also where billboards, newspapers, and magazines come into play—they may contain images of the sign intended for you, and they will be shown to you at a time and in a way that makes it clear they are signs.

the Site ID also needs to look like a Site ID. This means it should have the attributes we would expect to see in a brand logo or the sign outside a store: a distinctive typeface and a graphic that’s recognizable at any size from a button to a billboard.

A few months later, Sandler got word that Netflix, newly interested in movies, had set its sights squarely on him. Using data gathered from Sony movies that Netflix had played through its Starz deal, Sarandos’s team knew that even as his box-office power waned, Sandler remained one of the most popular stars on the streaming service. His aging audience might be less likely to pay to see him in a theater, but they still loved laughing at his antics at home. “We knew he was popular in markets where his movies had never even opened,” Sarandos said. The mid-budget star vehicle, in other words, still worked great for Netflix. When people went to theaters, they preferred brand-name franchises. But when they were browsing for something to stream rather than pay fifty dollars for a night out, a familiar face doing the familiar shtick was perfect. Movies without massive visual effects were just as enjoyable at home, after all, if not more so. And if the stars had chosen to stretch their wings and you didn’t like the movie you clicked on, you could turn it off immediately. You lost a little bit of time, but not any money. And though there may not be as many fans of Adam Sandler, or any movie star, as there used to be, that didn’t necessarily matter to Netflix. All studios care about is how many people buy tickets or DVDs. They get their money whether you loved the movie or hated it. But Netflix measures success by how many people finish a movie and are satisfied enough to keep subscribing as a result, or who sign up just in order to watch it. Adam Sandler’s fan base may have shrunk, but those who remained were loyal and they were global—just what Netflix wanted. Additionally, Netflix wouldn’t have to spend millions of dollars on billboards and TV ads to market each film. Its algorithm would prominently suggest each Sandler movie to his fans on their home screen the moment it was available.

I always feel a pleasant shock when I visit a culture where commercialization is not a dominant factor, where there are no billboards and garish signs interfering with my view of nature and where stores and businesses appear to find their place in a landscape of homes and nature. I see no sign of the people's obsession with buying and selling, and yet I come across a colorful market where the sense of community and the quality of food and other goods are remarkable.