Cartoon Memories Quotes

Thanks to my mother, I was raised to have a morbid imagination. When I was a child, she often talked about death as warning, as an unavoidable matter of fact. Little Debbie's mom down the block might say, 'Honey, look both ways before crossing the street.' My mother's version: 'You don't look, you get smash flat like sand dab.' (Sand dabs were the cheap fish we bought live in the market, distinguished in my mind by their two eyes affixed on one side of their woebegone cartoon faces.) The warnings grew worse, depending on the danger at hand. Sex education, for example, consisted of the following advice: 'Don't ever let boy kiss you. You do, you can't stop. Then you have baby. You put baby in garbage can. Police find you, put you in jail, then you life over, better just kill youself.

The Pink Panther had been playing on the old antennae TV. He remembered how the slinky, suggestive saxophone triggered something abstractly pleasurable in his child-self.

I wondered why my husband couldn't have just been all bad. Why couldn't he have been a cartoon villain, someone I could have fled from and known I had made the right decision? Why must there be nice memories of him sitting beside the ugly ones, both of them oblivious, strangers on a bus?

I remember a cartoon depicting a chimney sweep falling from the roof of a tall building and noticing on the way that a signboard had one word spelled wrong, and wondering in his headlong flight why nobody had thought of correcting it. In a sense, we all are crashing to our death from the top story of our birth to the flat stones of the churchyard and wondering with an immortal Alice in Wonderland at the patterns of the passing wall. This capacity to wonder at trifles—no matter the imminent peril—these asides of the spirit, these footnotes in the volume of life are the highest forms of consciousness, and it is in this childishly speculative state of mind, so different from common sense and its logic, that we know the world to be good.

For the fact is that neuroscientists who study memory remain unclear on the question of whether each time we remember something we are accessing a stable “memory fragment”—often called a “trace” or an “engram”—or whether each time we remember something we are literally creating a new “trace” to house the thought. And since no one has yet been able to discern the material of these traces, nor to locate them in the brain, how one thinks of them remains mostly a matter of metaphor: they could be “scribbles,” “holograms,” or “imprints”; they could live in “spirals,” “rooms,” or “storage units.” Personally, when I imagine my mind in the act of remembering, I see Mickey Mouse in Fantasia, roving about in a milky, navy-blue galaxy shot through with twinkling cartoon stars.

Since my earliest memory, I imagined I would be a chef one day. When other kids were watching Saturday morning cartoons or music videos on YouTube, I was watching Iron Chef,The Great British Baking Show, and old Anthony Bourdain shows and taking notes. Like, actual notes in the Notes app on my phone. I have long lists of ideas for recipes that I can modify or make my own. This self-appointed class is the only one I've ever studied well for. I started playing around with the staples of the house: rice, beans, plantains, and chicken. But 'Buela let me expand to the different things I saw on TV. Soufflés, shepherd's pie, gizzards. When other kids were saving up their lunch money to buy the latest Jordans, I was saving up mine so I could buy the best ingredients. Fish we'd never heard of that I had to get from a special market down by Penn's Landing. Sausages that I watched Italian abuelitas in South Philly make by hand. I even saved up a whole month's worth of allowance when I was in seventh grade so I could make 'Buela a special birthday dinner of filet mignon.

When you ask most people to reflect on their very first memory, the recollections usually fall within a range of familiar vignettes—that first game of catch with Mom or Dad, playing with a beloved stuffed animal or favorite toy, or watching Saturday morning cartoons. My first memory is shooting that McDonald’s commercial. I can’t remember anything before the start of my career.

Thus is the defining characteristic of gay millennials: we straddle the pre-Glee and post-Glee worlds. We went to high school when faggot wasn’t even considered an F-word, when being a lesbian meant boys just didn’t want you, when being nonbinary wasn’t even a remote option. We grew up without queer characters in our cartoons or Nickelodeon or Disney or TGIF sitcoms. We were raised in homophobia, came of age as the world changed around us, and are raising children in an age where it’s never been easier to be same-sex parents. We’re both lucky and jealous. As the state of gay evolved culturally and politically, we were old enough to see it and process it and not take it for granted–old enough to know what the world was like without it. Despite the success of Drag Race, the existence of lesbian Christmas rom-coms, and openly transgender Oscar nominees, we haven’t moved on from the trauma of growing up in a culture that hates us. We don’t move on from trauma, really. We can’t really leave it in the past. It becomes a part of us, and we move forward with it. For LGBTQ+ millennials, our pride is couched in painful memories of a culture repulsed and frightened by queerness. That makes us skittish. It makes us loud. It makes us fear that all this progress, all this tolerance , all of Billy Porter's red carpet looks can vanish as quickly as it all appeared.

Restorative nostalgics don’t just look at old photographs and piece together family stories. They are mythmakers and architects, builders of monuments and founders of nationalist political projects. They do not merely want to contemplate or learn from the past. They want, as Boym puts it, to “rebuild the lost home and patch up the memory gaps.” Many of them don’t recognize their own fictions about the past for what they are: “They believe their project is about truth.” They are not interested in a nuanced past, in a world in which great leaders were flawed men, in which famous military victories had lethal side effects. They don’t acknowledge that the past might have had its drawbacks. They want the cartoon version of history, and more importantly, they want to live in it, right now. They don’t want to act out roles from the past because it amuses them: they want to behave as they think their ancestors did, without irony.

Washington University found that adding a single extra gene dramatically boosted a mouse’s memory and ability. These “smart mice” could navigate mazes faster, remember events better, and outperform other mice in a wide variety of tests. They were dubbed “Doogie mice,” after the precocious character on the TV show Doogie Howser, M.D. Dr. Tsien began by analyzing the gene NR2B, which acts like a switch controlling the brain’s ability to associate one event with another. (Scientists know this because when the gene is silenced or rendered inactive, mice lose this ability.) All learning depends on NR2B, because it controls the communication between memory cells of the hippocampus. First Dr. Tsien created a strain of mice that lacked NR2B, and they showed impaired memory and learning disabilities. Then he created a strain of mice that had more copies of NR2B than normal, and found that the new mice had superior mental capabilities. Placed in a shallow pan of water and forced to swim, normal mice would swim randomly about. They had forgotten from just a few days before that there was a hidden underwater platform. The smart mice, however, went straight to the hidden platform on the first try. Since then, researchers have been able to confirm these results in other labs and create even smarter strains of mice. In 2009, Dr. Tsien published a paper announcing yet another strain of smart mice, dubbed “Hobbie-J” (named after a character in Chinese cartoons). Hobbie-J was able to remember novel facts (such as the location of toys) three times longer than the genetically modified strain of mouse previously thought to be the smartest. “This adds to the notion that NR2B is a universal switch for memory formation,” remarked Dr. Tsien. “It’s like taking Michael Jordon and making him a super Michael Jordan,” said graduate student Deheng Wang. There are limits, however, even to this new mice strain. When these mice were given a choice to take a left or right turn to get a chocolate reward, Hobbie-J was able to remember the correct path for much longer than the normal mice, but after five minutes he, too, forgot. “We can never turn it into a mathematician. They are rats, after all,” says Dr. Tsien. It should also be pointed out that some of the strains of smart mice were exceptionally timid compared to normal mice. Some suspect that, if your memory becomes too great, you also remember all the failures and hurts as well, perhaps making you hesitant. So there is also a potential downside to remembering too much.

Reflective nostalgics miss the past and dream about the past. Some of them study the past and even mourn the past, especially their own personal past. But they do not really want the past back. Perhaps this is because, deep down, they know that the old homestead is in ruins, or because it has been gentrified beyond recognition--or because they quietly recognize that they wouldn't much like it now anyway. Once upon a time life might have been sweeter or simpler, but it was also more dangerous, or more boring, or perhaps more unjust. Radically different from the reflective nostalgics are what Boym calls the restorative nostalgics, not all of whom recognize themselves as nostalgics at all. Restorative nostalgics don't just look at old photographs and piece together family stories. They are mythmakers and architects, builders of monuments and founders of nationalist political projects. They do not merely want to contemplate or learn from the past. They want, as Boym puts it, to "rebuild the lost home and patch up the memory gaps." Many of them don't recognize their own fictions about the past for what they are: "They believe their project is about truth." They are not interested in a nuanced past, in a world in which great leaders were flawed men, in which famous military victories had lethal side effects. They don't acknowledge that the past might have had its drawbacks. They want the cartoon version of history, and more importantly, they want to live in it, right now. They don't want to act out roles from the past because it amuses them: they want to behave as think their ancestors did, without irony. It is not by accident that restorative nostalgia often goes hand in hand with conspiracy theories and the medium-sized lies. These needn't be as harsh or crazy as the Smolensk conspiracy theory or the Soros conspiracy theory; they can gently invoke scapegoats rather than a full-fledged alternative reality. At a minimum, they can offer an explanation: The nation is no longer great because someone has attacked us, undermined us, sapped our strength. Someone—the immigrants, the foreigners, the elites, or indeed the EU—has perverted the course of history and reduced the nation to a shadow of its former self. The essential identity that we once had has been taken away and replaced with something cheap and artificial. Eventually, those who seek power on the back of restorative nostalgia will begin to cultivate these conspiracy theories, or alternative histories, or alternative fibs, whether or not they have any basis in fact.

the memory of the constant Meccan taunting of Muhammad and the harassment of his early followers would lie behind the worldwide outbreak of anger at the well-informed satire of Salman Rushdie’s 1988 novel The Satanic Verses and at the 2005 publication in a Danish newspaper of crude cartoons of Muhammad.

The old gods and their magics did not dwindle away into murky memories of brownies and little fairies more at home in a Disney cartoon; rather, they changed. The coming of Christ and Christians actually freed them. They were no longer bound to people’s expectations, but could now become anything that they could imagine themselves to be. “They are still here, walking among us. We just don’t recognize them anymore.

The Unbidden An unbidden grace seizes me, compelling me to be what I know I ought to be. To let it in I know I must let go. This is the grace of aspiration, The gravitas of one hundred New Year’s resolutions, with peaks of love, death and transience jagged as the Teton’s crown. With a nervous laughter I imagine it as the frazzled smile on a cartoon character. There is altitude in grace; I’m anointed sherpa of my landscape. Fumeroles of memory erupt through my soul, pointing to a underground river of propinquity. Time and space fuse, the desperation of the disparate is vanquished. In the mindscape of grace, everything flows in two directions. Memories ripple forward and are joined by new events cascading backwards. My sherpa calls this swirling cauldron life, the manufacturer of all meaning. Without the epiphany of the unbidden, we are without compass and forever lost.

how to make notes ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1584-1589 | Added on Monday, 15 June 2015 11:21:47 wanted to share my ‘colour coded’ way of remembering things with everybody, so they too could benefit. I felt like I had stumbled upon a great secret and my discovery would be hailed. I pictured it being used in schools, colleges and everywhere else as a new memory technique. I wondered why nobody else had thought of such a simple but brilliant technique earlier. As I was waiting for him to finish making the photocopies, my eyes chanced upon small glittering stickers of cartoon characters like Tw eety bird, Fairies and Garfield and some Disney characters, which children use to decorate their books and other objects. I thought the stickers would make a nice finishing touch and I bought twenty sheets. I also came across some very beautiful printed stationery and could not resist buying about eight packets of writing sheets. They looked very beautiful and ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Note at location 1596 | Added on Monday, 15 June 2015 11:24:46 cont. how to make notes ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1590-1596 | Added on Monday, 15 June 2015 11:24:46 I also looked around the shop and discovered some water colours. I had last painted with water colours only in school. On an impulse, I bought a set of water colours and a set of brushes as well. It was like an urgent impulse inside my head that was driving me to buy all this stuff. They seemed absolutely essential. I reached home armed with my large bag of purchases and unpacked them carefully and arranged them all on my desk. Then I sat down and decorated the corners of each set of notes with tiny stickers of cartoon characters. I used highlighter pens and highlighted each set of the notes in my colour coded way with green, purple and orange. There were seventy sets to finish and I was like a woman possessed. I stayed up the whole night doing just this. I was a reservoir of energy. I just couldn' t stop. Strangely I did not feel even a little tired. ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1617-1617 | Added on Monday, 15 June 2015 11:55:29 uncannily ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location 1650-1650 | Added on Monday, 15 June 2015 14:48:08 besotted ========== Life Is What You Make It A Story Of Love, Hope And How Determination Can Overcome Even Destiny (Preeti Shenoy) - Your Highlight at location

Standing there small among the boxes of Kandy Kakes that rose like brownish cartoon cliffs around him, he resembled the videos I'd seen of sea lions floating angelically among the kelp, black bodies filmed from below, their shapes cut out in bright sunlight, bodies mistakable for those of a human being. I felt the memory of a shadowy arm around me, a watcher again, sitting there on the couch with my boyfriend, watching the animals become prey. Somewhere there were giant whales feeding on creatures too small to see, pressing them against fronds of baleen with a tongue the size of a sedan. There were polar bears killing seals, tearing ovoid chunks from out of their smooth, round bellies. In the surrounding vastness of the warehouse, I heard something scratching against the concrete floor and knew there were rats here, scraping a thin film of nutrient from the dry packaged matter that surrounded them. Life was everywhere, inescapable, imperative.

Ingrid Seward It was 11 a.m. on one of those hot humid days of her last summer when I arrived at apartments 8 and 9 in Kensington Palace, where the Princess lived. The front door was open so I walked straight in. It took a few minutes before I found her butler, Paul Burrell, who apologized for not greeting me, and showed me to the loo. The walls were hung with cartoons depicting various events in Diana’s life (including one of a huge pile of horse dung, which said, “Has anyone seen James Hewitt?”).

I couldn’t shake the idea that I, too, was probably one conversation away from changing my own mind about something, maybe a lot of things. But I also recalled how many conversations I’d had that only made my convictions stronger. I thought about the truthers and all the conversations they had in New York. I wondered what made these interactions different. In the training, after the videos, Laura handed things over to Steve, and I got my first clue. He opened by telling the crowd that facts don’t work. A serene man with a gentle and patient spirit, Steve put away his persistent smile and raised his voice to address the audience on this point. “There is no superior argument, no piece of information that we can offer, that is going to change their mind,” he said, taking a long pause before continuing. “The only way they are going to change their mind is by changing their own mind—by talking themselves through their own thinking, by processing things they’ve never thought about before, things from their own life that are going to help them see things differently.” He stood by a paper easel on which Laura had drawn a cartoon layer cake. Steve pointed to the smallest portion at the top with a candle sticking out. It was labeled “rapport,” the next smallest layer was “our story,” and the huge base was “their story.” He said to keep that image in mind while standing in front of someone, to remember to spend as little time as possible talking about yourself, just enough to show that you are friendly, that you aren’t selling anything. Show you are genuinely interested in what they have to say. That, he said, keeps them from assuming a defensive position. You should share your story, he said, pointing to the portion of the cake that sat on top of the biggest layer, but it’s their story that should take up most of the conversation. You want them to think about their own thinking. The team tossed out lots of metaphors like these. For instance, Steve later said to think of questions as keys on a giant ring. If you keep asking and listening, he told the crowd, one of those keys was bound to unlock the door to a personal experience related to the topic. Once that real, lived memory was out in the open, you could (if done correctly) steer the conversation away from the world of conclusions with their facts googled for support, away from ideological abstractions and into the world of concrete details from that individual’s personal experiences. It was there, and only there, he said, that a single conversation could change someone’s mind.

This was my first visit to Walt Disney’s Magical Money Maw, and I initially had a typically cynical Chicagoan’s reaction. This place was an amusement park posing as a Disney movie come to life, with college kids in big-headed cartoon-character costumes mingling like monsters among children whose reactions veered between disappointment and terror. Here, the creator (not God but the beaming mustached one on TV) served up turn-of-the-century childhood memories painted with a pastel brush, inviting visitors into a fanciful American past sprinkled with pixie dust to banish actual memories of an era awash in financial failures, railroad strikes, immigrant tenements, racist lynchings, and social protest, right and left.

I asked myself: "What do you wanna do? Everyone here knows you. You will always find someone who would support an Ex-Olympiachampion. But then you risk growing old and a cartoon of yourselve, the shadow of a sports vet who lives from memories and remains. So, the best for you is to go where nobody cares who you are.

While the flesh-and-blood lecturer is speaking, his double looms up behind him on a giant screen, and his words spool out like a cartoon speech bubble. Where do the concepts and figures of analysis come from? Are they not purely and simply the metaphysical expression of a set of character traits, of an unfitness for reality and a fitness only for illusion and disillusion? Denial of reality, duplicity and intelligence of evil, ellipsis of the will and fatal strategies - might these things not all be faked? But isn't it a success to be one more spiral in the simulation?

Miss Naitō and Miss Matsukawa, you often played with her while she was there, didn’t you? I’m truly grateful to you for that. She loved those afternoons. She told me that you girls said she looked like her favorite cartoon character, Snuggly Bunny. She couldn’t have been more delighted. Please don’t cry, girls. Those are happy memories.