Video Credits Quotes

catalyst, n. It surprised me — surprises me still — that you were the first one to say it. I was innocent, in a way, expecting those three words to appear boldface with music. But instead, it was such an ordinary moment: The movie was over, and I stood up to turn off the TV. A few minutes had passed from the end of the final credits, and we’d been sitting there on the couch, your legs over mine, the side of your hand touching the side of my hand. The video stopped and the screen turned blue. “I’ll get it,” I said, and was halfway to the television when you said, “I love you.” I never asked, but I’ll always wonder: What was it about that moment that made you realize it? Or, if you’d known it for awhile, what compelled you to say it then? It was welcome, so welcome, and in my rush to say that I loved you, too, I left the television on, I let that light bathe us for a little longer, as I returned to the couch, to you. We held there for awhile, not really sure what would happen next.

GONE TO STATIC it sounds better than it is, this business of surviving, making it through the wrong place at the wrong time and living to tell. when the talk shows and movie credits wear off, it's just me and my dumb luck. this morning I had that dream again: the one where I'm dead. I wake up and nothing's much different. everything's gone sepia, a dirty bourbon glass by the bed, you're still dead. I could stumble to the shower, scrub the luck of breath off my skin but it's futile. the killer always wins. it's just a matter of time. and I have time. I have grief and liquor to fill it. tonight, the liquor and I are talking to you. the liquor says, 'remember' and I fill in the rest, your hands, your smile. all those times. remember. tonight the liquor and I are telling you about our day. we made it out of bed. we miss you. we were surprised by the blood between our legs. we miss you. we made it to the video store, missing you. we stopped at the liquor store hoping the bourbon would stop the missing. there's always more bourbon, more missing tonight, when we got home, there was a stray cat at the door. she came in. she screams to be touched. she screams when I touch her. she's right at home. not me. the whisky is open the vcr is on. I'm running the film backwards and one by one you come back to me, all of you. your pulses stutter to a begin your eyes go from fixed to blink the knives come out of your chests, the chainsaws roar out from your legs your wounds seal over your t-cells multiply, your tumors shrink the maniac killer disappears it's just you and me and the bourbon and the movie flickering together and the air breathes us and I am home, I am lucky I am right before everything goes black

The Joke...Audience as reflexive cast; 35 mm. X2 cameras;variable length; black and white, silent. Parody of Hollis Frampton’s ‘audience-specific events,’ two Ikegami EC-35 video cameras in theater record the film’s audience and project the resultant raster onto screen - the theater audience watching itself watch itself get the obvious ‘joke’ and become increasingly self-conscious and uncomfortable and hostile supposedly comprises the film’s involuted ‘antinarrative’ flow. Incandenza’s first truly controversial project, Film & Kartridge Kulcher’s Sperber credited it with ‘unwittingly sounding the death-knell of post-postsctructural film in terms of sheer annoyance.

I don’t want to make a big deal about this or anything, but I think it’s kind of cool how you do everything you do.” I squinted at him. “I mean, you use sign language, and it’s hard to communicate. But you’re into art and you can seriously cook and, for goodness’ sakes, you can even jitterbug. By the way, I told my mom, and she wants a video. Totally doesn’t believe me. But, yeah, I think it’s nice that you don’t let a little hitch in life slow you down. I admire that.” I smiled. For a minute, I admired myself, too. He didn’t know how deep my problems ran, but he was right all the same. It was no small thing to try, to find out what you cared about in life. Even this moment, with this wonderful, temporary boy beside me, was a tiny miracle. I ought to give myself some credit.

catalyst, n. It surprised me - surprises me still - that you were the first one to say it. I was innocent, in a way, expecting those three words to appear boldface with music. But instead, it was such an ordinary moment: The movie was over, and I stood up to turn off the TV. A few minutes had passed from the end of the final credits, and we'd been sitting there on the couch, your legs over mine, the side of your hand touching the side of my hand. The video stopped and the screen turned blue. "I'll get it," I said, and was halfway to the television when you said, "I love you." I never asked, but I'll always wonder: What was it about that moment that made you realize it? Or, if you'd known it for awhile, what compelled you to say it then? It was welcome, so welcome, and in my rush to say that I loved you, too, I left the television on, I let that light bathe us for a little longer, as I returned to the couch, to you. We held there for awhile, not really sure what would happen next.

Hackers could even install brain spyware into the apps and devices you are using. A research team led by UC Berkeley computer science professor Dawn Song tried this on gamers who were using neural interface to control a video game. As they played, the researchers inserted subliminal images into the game and probed the players’ unconscious brains for reaction to stimuli—like postal addresses, bank details, or human faces. Unbeknownst to the gamers, the researchers were able to steal information from their brains by measuring their unconscious brain responses that signaled recognition to stimuli, including a PIN code for one gamer’s credit card and their home address.

Over the decade that movie producer Menahem Golan had retained the rights for Spider-Man, he’d managed to involve half a dozen different corporate entities. Golan had originally bought the Spider-Man rights for his Cannon Films; after leaving Cannon, he transferred them to 21st Century Films. Next, he raised money by preselling television rights to Viacom, and home video rights to Columbia Tri-Star; then he signed a $5 million deal with Carolco that guaranteed his role as producer. But after Carolco assigned the film to James Cameron, Cameron refused to give Golan the producer credit, and the lawsuits began. By the end of 1994, Carolco was suing Viacom and Tri-Star; Viacom and Tri-Star were countersuing Carolco, 21st Century, and Marvel; and MGM—which had swallowed Cannon—was suing Viacom, Tri-Star, 21st Century, and Marvel.

Bust magazine, back when it was a more outwardly feminist publication, used to ask each of their female interview subjects whether or not they identified as feminist. In 2005, the musician Björk said no, and that interview is still used in these online lists as of this year. Björk is a female artist often credited with being one of the most innovative and daring musicians of her generation, regardless of gender. She has collaborated with and supported women musicians, fashion designers, video directors. She has spoken frankly and openly in interviews about the difficulties of being a woman in a male-dominated industry. She has proven herself to be an exemplary human being and creator, and she is a tremendous role model for young aspiring musicians. If we understand that the problem feminists have with Björk has nothing to do with her actions and is only about her language and way of identifying herself, then we can recognize that this is about a feminist marketing campaign and not a philosophy. Compare

She clicks on the last slide, and that’s when it happens. “Me So Horny” blasts out of the speakers and my video, mine and Peter’s, flashes on the projector screen. Someone has taken the video from Anonybitch’s Instagram and put their own soundtrack to it. They’ve edited it too, so I bop up and down on Peter’s lap at triple speed to the beat. Oh no no no no. Please, no. Everything happens at once. People are shrieking and laughing and pointing and going “Oooh!” Mr. Vasquez is jumping up to unplug the projector, and then Peter’s running onstage, grabbing the microphone out of a stunned Reena’s hand. “Whoever did that is a piece of garbage. And not that it’s anybody’s fucking business, but Lara Jean and I did not have sex in the hot tub.” My ears are ringing, and people are twisting around in their seats to look at me and then shifting back around to look at Peter. “All we did was kiss, so fuck off!” Mr. Vasquez, the junior class advisor, is trying to grab the mic back from Peter, but Peter manages to maintain control of it. He holds the mic up high and yells out, “I’m gonna find whoever did this and kick their ass!” In the scuffle, he drops the mic. People are cheering and laughing. Peter’s being frog-marched off the stage, and he frantically looks out into the audience. He’s looking for me. The assembly breaks up then, and everyone starts filing out the doors, but I stay low in my seat. Chris comes and finds me, face alight. She grabs me by the shoulders. “Ummm, that was crazy! He freaking dropped the F bomb twice!” I am still in a state of shock, maybe. A video of me and Peter hot and heavy was just on the projector screen, and everyone saw Mr. Vasquez, seventy-year-old Mr. Glebe who doesn’t even know what Instagram is. The only passionate kiss of my life and everybody saw. Chris shakes my shoulders. “Lara Jean! Are you okay?” I nod mutely, and she releases me. “He’s kicking whoever did it’s ass? I’d love to see that!” She snorts and throws her head back like a wild pony. “I mean, the boy’s an idiot if he thinks for one second it wasn’t Gen who posted that video. Like, wow, those are some serious blinders, y’know?” Chris stops short and examines my face. “Are you sure you’re okay?” “Everybody saw us.” “Yeah…that sucked. I’m sure that was Gen’s handiwork. She must’ve gotten one of her little minions to sneak it onto Reena’s PowerPoint.” Chris shakes her head in disgust. “She’s such a bitch. I’m glad Peter set the record straight, though. Like, I hate to give him credit, but that was an act of chivalry. No guy has ever set the record straight for me.

One can take the ape out of the jungle, but not the jungle out of the ape. This also applies to us, bipedal apes. Ever since our ancestors swung from tree to tree, life in small groups has been an obsession of ours. We can’t get enough of politicians thumping their chests on television, soap opera stars who swing from tryst to tryst, and reality shows about who’s in and who’s out. It would be easy to make fun of all this primate behavior if not for the fact that our fellow simians take the pursuit of power and sex just as seriously as we do. We share more with them than power and sex, though. Fellow-feeling and empathy are equally important, but they’re rarely mentioned as part of our biological heritage. We would much rather blame nature for what we don’t like in ourselves than credit it for what we do like. As Katharine Hepburn famously put it in The African Queen, ”Nature, Mr. Allnut, is what we are put in this world to rise above.” This opinion is still very much with us. Of the millions of pages written over the centuries about human nature, none are as bleak as those of the last three decades, and none as wrong. We hear that we have selfish genes, that human goodness is a sham, and that we act morally only to impress others. But if all that people care about is their own good, why does a day-old baby cry when it hears another baby cry? This is how empathy starts. Not very sophisticated perhaps, but we can be sure that a newborn doesn’t try to impress. We are born with impulses that draw us to others and that later in life make us care about them. The possibility that empathy is part of our primate heritage ought to make us happy, but we’re not in the habit of embracing our nature. When people commit genocide, we call them ”animals”. But when they give to the poor, we praise them for being ”humane”. We like to claim the latter behavior for ourselves. It wasn’t until an ape saved a member of our own species that there was a public awakening to the possibility of nonhuman humaneness. This happened on August 16, 1996, when an eight-year-old female gorilla named Binti Jua helped a three-year-old boy who had fallen eighteen feet into the primate exhibit at Chicago’s Brookfield Zoo. Reacting immediately, Binti scooped up the boy and carried him to safety. She sat down on a log in a stream, cradling the boy in her lap, giving him a few gentle back pats before taking him to the waiting zoo staff. This simple act of sympathy, captured on video and shown around the world, touched many hearts, and Binti was hailed as a heroine. It was the first time in U.S. history that an ape figured in the speeches of leading politicians, who held her up as a model of compassion. That Binti’s behavior caused such surprise among humans says a lot about the way animals are depicted in the media. She really did nothing unusual, or at least nothing an ape wouldn’t do for any juvenile of her own species. While recent nature documentaries focus on ferocious beasts (or the macho men who wrestle them to the ground), I think it’s vital to convey the true breadth and depth of our connection with nature. This book explores the fascinating and frightening parallels between primate behavior and our own, with equal regard for the good, the bad, and the ugly.

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Banks have been a frequent target for hackers in recent years, with the vast majority of attacks motivated by financial theft. But not all of them. In the past two years, U.S. banks have been targets of a series of politically motivated attacks from Iran, in which a group of Iranian hackers flooded bank websites with so much online traffic - a method called a distributed denial of service attack - that the sites slowed or intermittently collapsed. Hackers who took credit for those attacks said they went after the banks in retaliation for an anti-Islam video that mocked the Prophet Muhammad. U.S. intelligence officials said the group was actually a cover for the Iranian government. Officials claimed Iran was waging the attacks in retaliation for Western economic sanctions and for attacks on its own systems.

Therefore, with these celebrity wannabees, 1) popularity—or the appearance of it—can be measured by how many Facebook friends or Twitter followers one has managed to acquire; 2) fame—however fleeting—can be attained by many through appearing on reality television shows or in videos gone viral on YouTube; even 3) wealth—or the appearance of it—can be attained through the buying of expensive homes, cars, and various adult toys on relatively cheap credit; and, finally, 4) real power is admittedly harder to achieve but not beyond the grasp of those willing to sacrifice ethics and do whatever it takes to attain it. This fourth quality or possession is probably as it has always been, but having easier access to the other three may just put this one within the grasp of more, especially those undeserving of it or who would possibly misuse it. Thankfully, not everyone in this category craves or seeks power. But beware those who do.

There is a misperception about black women in society. When a black woman presents expectations to a man, she is seen as needy, bossy and a gold digger. When a woman who is not of African American descent expresses the same thing from a man, she is seen as a trophy wife. When a woman of European descent presents the same thing, she is viewed as a classy woman with standards. When a woman of European descent presents the same standards as a black woman, the Caucasian woman is credited for implementing rules of dating when she expects a man to pay for dinner or when she tells a man what she desires out of a relationship. The value of African American women is reduced not only by dominant culture and society, but by men, particularly African American men. The media, radio, music, television, newspapers and movies have devalued African American women when in reality African American women are honorable, respectable, classy, elegant, beautiful, educated and hardworking women. Dark skin women are viewed as angry, unattractive and uneducated within modern society. African American women are seen as loud, irate, insensitive and angry women as a result of labels from some African American men, media, movies and music. Television, magazines, social media, internet, videos and some music present Hispanic, Latino, White and Armenian women as trophy wives, idols and models while presenting African American women as mistresses, one night stands, casual sex, gold diggers and “baby mamas.” Latino and Dominican women are viewed as physically beautiful while Caucasian women are viewed as ideal and classy within media, music, music videos and movies. Media presents black women as bitter, scorned, ghetto, ratchet and promiscuous as if women of other races do not exhibit those characteristics. Women of other races are on television and the internet using profanity, fighting, engaging in sexual acts and cheating, however, there is an emphasis on African American women who exhibit those behaviors” (McEachern 85).

Credit for the discovery of this alignment belongs to researcher Cort Lindahl, who publishes on the web as Geomantic Information Systems, as well as producing YouTube videos showcasing

Within days, an independent analysis by German security experts proved decisively that Street View’s cars were extracting unencrypted personal information from homes. Google was forced to concede that it had intercepted and stored “payload data,” personal information grabbed from unencrypted Wi-Fi transmissions. As its apologetic blog post noted, “In some instances entire emails and URLs were captured, as well as passwords.” Technical experts in Canada, France, and the Netherlands discovered that the payload data included names, telephone numbers, credit information, passwords, messages, e-mails, and chat transcripts, as well as records of online dating, pornography, browsing behavior, medical information, location data, photos, and video and audio files. They concluded that such data packets could be stitched together for a detailed profile of an identifiable person.39

Entirely in agreement with Salieri when he rails against God for having given humanity the gift of Mozart's divine music, for the sole purpose of making us look ridiculous and plunging us into despair. Salieri sets himself up as Man's champion against divine injustice. It is the same problem as that of the Grand Inquisitor in the Brothers Karamazov. When Christ returns to earth he says to him: 'We manage humanity for its greatest happiness. It has paid for this with its mediocrity. Don't come disturbing this fragile balance with insane promises. ' And he condemns Christ to death once again. Salieri is not mean-spirited: it took pride, not to become jealous of Mozart, but to challenge God and ask: 'Tell it to me plainly, why am I not Mozart?' For God mocked us by throwing Mozart among us in the guise of a vulgar being, who did not even bear the exceptional marks of grace. God is toying with us, and that is unbearable. Mozart must be destroyed. All that challenges God is noble in spirit and superior to gaping, unconditional admiration of His works. We will not have the same problem with Changeux's Neuronal Man, emerging on the horizon like Nietzsche's Last Man, with his cortical and synaptic flatness. Farewell Mozart, farewell Salieri, no more grace, but no more challenges either, such is the solution offered by modern science to the insoluble despair of the difference between men. Signs, signs? Is that all you have to say? People act and people dream, they speak or they don't - none of that is unreal. Shut up and watch. See the philosophical beauty of these closing years of the century, the stars in the sky falling lower as the fateful date approaches, and the interactive horizon of couples in love - all this is beyond doubt, and it moves me to tears . . . The age, the coming age is like a metropolis deserted by its population, cut off from its sources of energy. Are you going to say that, are you going to go on with these twilight rantings? Every century throws the reality principle into question as it closes, but it's over today, finished, done. Everybody works these days. Narrative and moral passions, the philosophical animal spirits, are literally blocking the electronic animal spirits, a thousand times more lively and insignificant. Videos and advertisements, credits, news reports and sports flashes, Dallas, that's television, all that transfers easily, with the minimum of energy, on ephemeral film. But pure television, like pure painting or pure speed, is hard to bear.

Bill Wilson would never have another drink. For the next thirty-six years, until he died of emphysema in 1971, he would devote himself to founding, building, and spreading Alcoholics Anonymous, until it became the largest, most well-known and successful habit-changing organization in the world. An estimated 2.1 million people seek help from AA each year, and as many as 10 million alcoholics may have achieved sobriety through the group.3.12,3.13 AA doesn’t work for everyone—success rates are difficult to measure, because of participants’ anonymity—but millions credit the program with saving their lives. AA’s foundational credo, the famous twelve steps, have become cultural lodestones incorporated into treatment programs for overeating, gambling, debt, sex, drugs, hoarding, self-mutilation, smoking, video game addictions, emotional dependency, and dozens of other destructive behaviors. The group’s techniques offer, in many respects, one of the most powerful formulas for change. All of which is somewhat unexpected, because AA has almost no grounding in science or most accepted therapeutic methods. Alcoholism, of course, is more than a habit. It’s a physical addiction with psychological and perhaps genetic roots. What’s interesting about AA, however, is that the program doesn’t directly attack many of the psychiatric or biochemical issues that researchers say are often at the core of why alcoholics drink.3.14 In fact, AA’s methods seem to sidestep scientific and medical findings altogether, as well as the types of intervention many psychiatrists say alcoholics really need.1 What AA provides instead is a method for attacking the habits that surround alcohol use.3.15 AA, in essence, is a giant machine for changing habit loops. And though the habits associated with alcoholism are extreme, the lessons AA provides demonstrate how almost any habit—even the most obstinate—can be changed.

chip, a credit card, a small hypodermic needle and syringe, some duct tape, and a tiny capsule of brown liquid. Pocketing the items, he exited the bathroom and darted down the hall to guard station 7. Just as Glinn had predicted: of the five guards on duty, four had responded to the escape call, leaving the lone commanding guard at the console, surrounded by a wall of live video feeds. The man was shouting orders into a microphone and punching up feed after feed, frantically searching for the loose inmates. An overwhelming response had been mobilized to deal with the mass escape attempt. Based on the guard’s excited chatter, already one of the inmates had been run down and recaptured.

Historically, humans have engaged in activities that have natural stopping cues—no more apples on the tree, no more ale in the barrel, the end of a chapter, the end credits. Platforms including Facebook, Instagram, and Netflix have systematically eradicated stopping cues—similar to casinos, which deliberately have no hard angles, only one continuous space to keep you moving through it, on to the next wager. Netflix has become an endless show; TikTok, an endless video.

Take the credit associated with the aforementioned categories of playing video games and buying diapers. There are many ways to parse the values embedded in the distinction between the “idle” and the “responsible” citizen so that it lowers the scores of gamers and increases the scores of diaper changers. There is the ableist logic, which labels people who spend a lot of time at home as “unproductive,” whether they play video games or deal with a chronic illness; the conflation of economic productivity and upright citizenship is ubiquitous across many societies.

They sat there watching in silence till the very end, listening to the music that played as the credits rolled, and when the video at last came to an end, Anjum closed the laptop gently and they both remained unmoving for a while, reluctant to speak or look at each other in the same way that when a film ended at the cinema and the lights came on, there was a moment in which you were reluctant to make eye contact with the person beside you, as if to do so would be to acknowledge the transience of the world in which you'd just been immersed.

Baartman is often seen to symbolize the sexist and racist ways that Black women’s bodies and sexuality are perceived. Big Black bottoms have become synonymous with sex. Black female artists like Nicki Minaj are chastised for showcasing their considerable backsides in service for their own ends. Or they are disrespected: on a 2011 episode of Live with Regis and Kelly, Regis Philbin reached out and patted Minaj’s behind without her consent.8 Meanwhile, Black male artists—including Nelly, whose infamous “Tip Drill” video showed the artist swiping a credit card down the crack of a Black woman’s behind—and White female artists such as Lily Allen, who sings, in “Hard Out Here,” “Don’t need to shake my ass, cause I’ve got a brain” while flanked by Black women shaking their asses, are defended in the name of art … or irony … or … just lighten up. And nonfamous women and girls who happen to walk around in Black bodies every day? Cheryl Contee of Jack & Jill Politics asked five fellow panelists—Black women all—at a 2011 Netroots Nation conference whether they had ever been mistaken for prostitutes. Every hand on the panel went up. Her encounter, Contee says, happened as she left a dentist’s office with her mother following a root canal, looking “deeply unsexy.”9

Goodby, Silverstein & Partners, the legendary San Francisco-based ad agency behind such classic campaigns as “Got Milk” and the Foster Farm Chickens, had found itself in a funk—and felt increasingly irrelevant in an emerging, transmedia world of social networking, user-generated content, mobile, Internet video, and more. So a few years ago, the agency set an ambitious goal to completely revamp itself for the digital age. “Our goal is to be unrecognizable twelve months from now,” creative director Jamie Barrett said at the time. The idea: transform an agency known primarily for eye-popping television spots into one badass, multiplatform marketing machine. It was well worth the effort. In less than a year, Goodby saw revenues leap 20 percent to $102 million. At the start of its transformation effort, 80 percent of the twenty-five-year-old agency’s revenues came from traditional advertising campaigns, while less than 20 percent came from digital initiatives. Today, after three years of reinvention, those numbers are nearly flip-flopped, with 60 percent of revenues now coming from digital initiatives, and 40 percent from traditional. Now, a team once vexed by what it called “Crispin Envy”—for all the attention Crispin Porter + Bogusky receives for its groundbreaking work in digital media—has found its own footing, and then some. While many have driven the transformation, no one has received more credit as a catalyst for change than Derek Robson, forty-two, whom Goodby recruited from adverting agency powerhouse Bartle Bogle Hegarty in London.

The other song we did was my cover of “Addicted to Love.” There used to be a sort of karaoke booth on Saint Mark’s, where anyone could go in and record themselves. I chose “Addicted to Love” because I liked Robert Palmer’s video, with its background cast of zombie models identically dressed and holding guitars. I took the tape with the canned version of the song back to the studio, and we sped up the vocal to make it sound higher in pitch. Later I brought the cassette mix to Macy’s, where they had a video version of the karaoke sound booth. You could customize a background while two cameras filmed you. For my backdrop I picked jungle fighters, and I wore my Black Flag earrings. The entire bill came to $19.99, and in a slick, commercial MTV world, it felt gratifying and empowering to pay for the whole thing with a credit card.

The occasion was the broadcast of a television program about the artistic avant-garde entitled Supervisions, which was produced by the Los Angeles public television station KCET. Smith’s and Shoup’s work on Superpaint had started to win wide notice outside PARC, thanks in part to a tape called “Vidbits” which Smith had compiled from clips of his best work for playing to artists’ gatherings all around California. After one such showing, KCET commissioned the two of them to supply some brief color-cycling effects for Supervisions. They had scrupulously insisted that the producers give Xerox screen credit, assuming that the parent company would appreciate the honor. Instead, Taylor marched into the video lab a day or two after the broadcast and buttonholed Smith. “Xerox wants their logo off every piece of tape,” he said. “Right now.