Famous Parody Quotes

Death in Scarsadale. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Marlon R. Gain; 78 mm.; 39 minutes; color; silent w/ closed-captioned subtitles. Mann/Allen parody, a world-famous dermatological endocrinologist (Watt) becomes platonically obsessed with a boy (Bain) he is treating for excessive perspiration, and begins himself to suffer from excessive perspiration. UNRELEASED

While the Austrian crown was dissolving like jelly in your fingers, everyone wanted Swiss francs and American dollars, and large numbers of foreigners exploited the economic situation to feed on the twitching corpse of the old Austrian currency. Austria was ‘discovered’, and became disastrously popular with foreign visitors in a parody of the society season. All the hotels in Vienna were crammed full with these vultures; they would buy anything, from toothbrushes to country estates; they cleared out private collections of antiquities and the antique dealers’ shops before the owners realised how badly they had been robbed and cheated in their time of need. Hotel receptionists from Switzerland and Dutch shorthand typists stayed in the princely apartments of the Ringstrasse hotels. Incredible as it may seem, I can vouch for it that for a long time the famous, de luxe Hotel de l’Europe in Salzburg was entirely booked by unemployed members of the English proletariat, who could live here more cheaply than in their slums at home, thanks to the generous unemployment benefit they received. Anything that was not nailed down disappeared. Word gradually spread of the cheap living and low prices in Austria. Greedy visitors came from further and further afield, from Sweden, from France, and you heard more Italian, French, Turkish and Romanian than German spoken in the streets of the city centre of Vienna.

In a famous hoax, physicist Alan Sokal submitted an article to a leading journal of cultural studies purporting to describe how quantum gravity could produce a “liberatory postmodern science.” The article, which parodied the convoluted style of argument in the fashionable academic world of cultural studies, was promptly published by the editors. Sokal announced that his intention was to test the intellectual standards of the discipline by checking whether the journal would publish a piece “liberally salted with nonsense.” Sokal, “A Physicist Experiments with Cultural Studies,” April 15, 1996,

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La Revue Nègre was a bold statement, drawing from the long history of both Black American vernacular dance and the minstrel and vaudeville theater in which Baker had performed in the United States. It contained elements of the shimmy and the shake, and challenged traditional Western European ideas of dance. “All of these moves that in the European mode would have been considered awkward become beautiful, sexy, silly, and savvy at the same time,” explains Dixon Gottschild. Later, as the performance evolved, Baker incorporated her famous banana skirt and, eventually, a pet cheetah who regularly made his way into the orchestra pit—elements that played into the idea of Baker as an exotic creature and added notes of vaudeville humor. Baker’s performances were complex, as are their legacy. Some have characterized her as a twentieth-century Sarah Baartman, another Black woman put on display for the titillation of fascinated, scandalized bourgeois white spectators. But she is often also criticized for exoticizing herself, knowingly participating in her own exploitation, playing into African stereotypes with her nudity, the banana skirt, and the cheetah. Others interpret La Revue Nègre as a means of reclaiming those stereotypes: Baker enthusiastically, and freely, participated in the performances and made lots of money doing it, and she surely understood that she was engaging with, and even subverting, stereotypes of Black femininity. She was also funny, and her performances always contained elements of humor and parody. From her early days as a chorus girl, she would add an element of knowingness by feigning being a bad dancer onstage for a laugh. She may have been sexualized and objectified by her largely white audience in Paris, but she also maintained significant control over what she was doing.

High above, on the side of a cliff, stood the largest castle I'd ever seen—ever imagined. The windows glowed with candlelight, as the last desperate rays of light silhouetted the castle against a gray sky. I knew Britain was famous for old crumbly buildings, but this place was ridiculous.

he started writing counterpoint songs for the theater in the same period that he publicly claimed his desire to compose an opera, because in opera two or more characters regularly express conflicting feelings simultaneously, as in the famous quartet from Verdi’s Rigoletto, which Berlin parodied in his first musical comedy, Watch Your Step.