Walking Billboard Quotes

All masculine, hard-bodied and sensual, he was a deadly weapon sent by the gods to drive women mad, and a walking billboard for all things wicked and carnal. Orgasms! Get your orgasms here. Hot and juicy! Just how you like ‘em!

If life is a movie most people would consider themselves the star of their own feature. Guys might imagine they're living some action adventure epic. Chicks maybe are in a rose-colored fantasy romance. And homosexuals are living la vida loca in a fabulous musical. Still others may take the indie approach and think of themselves as an anti-hero in a coming of age flick. Or a retro badass in an exploitation B movie. Or the cable man in a very steamy adult picture. Some people's lives are experimental student art films that don't make any sense. Some are screwball comedies. Others resemble a documentary, all serious and educational. A few lives achieve blockbuster status and are hailed as a tribute to the human spirit. Some gain a small following and enjoy cult status. And some never got off the ground due to insufficient funding. I don't know what my life is but I do know that I'm constantly squabbling with the director over creative control, throwing prima donna tantrums and pouting in my personal trailor when things don't go my way. Much of our lives is spent on marketing. Make-up, exercise, dieting, clothes, hair, money, charm, attitude, the strut, the pose, the Blue Steel look. We're like walking billboards advertising ourselves. A sneak peek of upcoming attractions. Meanwhile our actual production is in disarray--we're over budget, doing poorly at private test screenings and focus groups, creatively stagnant, morale low. So we're endlessly tinkering, touching up, editing, rewriting, tailoring ourselves to best suit a mass audience. There's like this studio executive in our heads telling us to cut certain things out, make it "lighter," give it a happy ending, and put some explosions in there too. Kids love explosions. And the uncompromising artist within protests: "But that's not life!" Thus the inner conflict of our movie life: To be a palatable crowd-pleaser catering to the mainstream... or something true to life no matter what they say?

You are a walking billboard, what are you advertising?

This man is a walking billboard for both terror and lust. A human thunderstorm. He’s beautiful.

If Los Angeles is a woman reclining billboard model and the San Fernando Valley is her teenybopper sister, then New York is their cousin. Her hair is dyed autumn red or aubergine or Egyptian henna, depending on her mood. Her skin is pale as frost and she wears beautiful Jil Sander suits and Prada pumps on which she walks faster than a speeding taxi (when it is caught in rush hour, that is). Her lips are some unlikely shade of copper or violet, courtesy of her local MAC drag queen makeup consultant. She is always carrying bags of clothes, bouquets of roses, take-out Chinese containers, or bagels. Museum tags fill her pockets and purses, along with perfume samples and invitations to art gallery openings. When she is walking to work, to ward off bums or psychos, her face resembles the Statue of Liberty, but at home in her candlelit, dove-colored apartment, the stony look fades away and she smiles like the sterling roses she has brought for herself to make up for the fact that she is single and her feet are sore.

He looked like a walking, talking billboard for deliciously irresponsible behavior and a treasure trove of regrettable decisions.

But it’s not always enough, you know? And sometimes, it spills over because you can’t control it, because you need to make others feel your pain, your hurt, your rage, because it’s tough to walk around all scarred up, in a world full of slick billboards and bright, smiley toothpaste ads and shiny, happy people. Life’s not always fair. So suck it, lick it, stroke it, fuck it.

hello, this was Nick, he was basically a walking billboard for inappropriateness—reduce

Part of the human experience is to confront temptation. No one escapes. It is omnipresent. It is both externally driven and internally prompted. It is like the enemy that attacks from all sides. It boldly assaults us in television shows, movies, billboards, and newspapers in the name of entertainment or free speech. It walks down our streets and sits in our offices in the name of fashion. It drives our roads in the name of style. It represents itself as political correctness or business necessity. It claims moral sanction under the guise of free choice. On occasion it roars like thunder; on others it whispers in subtle, soothing tones. With chameleon-like skill it camouflages its ever-present nature, but it is there--always there.

If Los Angeles is a woman reclining billboard model and the San Fernando Valley is her teenybopper sister, then New York is their cousin. Her hair is dyed autumn or aubergine or Egyptian henna, depending on her mood. Her skin is pale as frost and she wears beautiful Jil Sander suits and Prada pumps on which she walks faster than a speeding taxi (when it is caught in rush hour, that is). Her lips are some unlikely shade of copper or violet, courtesy of her local MAC drag queen makeup consultant.

As far as my part in it is concerned, it began one night in the fall of 1956 in Lexington, Kentucky, when I walked into the Zebra Bar--a musty, murky coal-hole of a place across Short Street from the Drake Hotel (IF YOU DUCK THE DRAKE YOUR A GOOSE!! read the peeling roadside billboard out on the edge of town)--walked in under a marquee that did, sure enough, declare the presence inside of one 'Little Enis,' and came upon this amazing little stud stomping around atop the bar, flailing away at one of those enormous old electric guitars that looked like an Oldsmobile in drag--left-handed!

There is no “underground” community, no dark den of drunken sailors initiating themselves into manhood via cheap, ill-conceived exercises in bodily perforation; it’s just a group of people who delight in using their bodies as billboards.

In America, my father began working as a clerk for a government agency. He rented an apartment in a place called Queens, New York. A year after he left us, he sent airplane tickets. The Delhi of the seventies is hard to imagine: the quietness, the streets empty of traffic, children playing cricket in the middle of the street and rarely having to move out of the way to let cars by, the vegetable vendors who came pushing their carts down the streets in the late afternoon, crying out their wares in tight, high-pitched voices. There weren't VCRs back then, let alone cable channels. A movie would play for twenty-five or fifty weeks in huge auditorium theaters, and then once the movie was gone, it was gone forever. I remembered feeling grief when the enormous billboards for Sholay at the end of our street were taken down. It was like somebody had died. It is also hard to remember how frugal we were. We saved the cotton that comes inside pill bottles. Our mothers used it to make wicks. This frugality meant that we were sensitive to the physical reality of the world in a way most people no longer are. When my mother bought a box of matches, she had my brother sit at a table and use a razor to split the matches in half. When we had to light several things, we would use the match to set a twist of paper on fire and then walk around the apartment lighting the stove, the incense stick, the mosquito coil. This close engagement with things meant that we were conscious that the wood of a match is soft, that a bit of spit on paper split on paper slows down how it burns. By the time our airplane tickets arrived, not every family hired a band to play outside their house on the day of the departure to a foreign country. Still, many families did.

In Biarritz, Chanel perfected her inspired publicity tactic of offering clothes free of charge to beautiful and well-connected women. When these women then wore Coco’s clothes all over town to society parties, they became de facto house models—the most effective walking billboards imaginable.

As long as they can imagine only disastrous outcomes to relatively benign situations, anybody walking into a room, any stranger, any image, on a screen or on a billboard might be perceived as a harbinger of catastrophe.

We could only conclude that for abused children, the whole world is filled with triggers. As long as they can imagine only disastrous outcomes to relatively benign situations, anybody walking into a room, any stranger, any image, on a screen or on a billboard might be perceived as a harbinger of catastrophe. In this light the bizarre behavior of the kids at the children’s clinic made perfect sense.

way out, Dorsey would find an even easier one. He was a walking billboard for the twenty-year retirement rule, although obviously he had chosen to take his retirement while still on the job.

she knew who Brand was: one day walking across Harvard Square after class she had seen this odd fellow in a top hat, standing in the square with a billboard that read “Why haven’t we seen a photograph of the whole Earth yet?

I spend the day unpacking and reading mail. In the afternoon I go for a long walk in the woods around my rural home, troubled by the many human scenes of grief, embarrassment, and disbelief I witnessed at the main Auschwitz camp and at Birkenau. I wonder why there are no billboards on those grounds, telling us, say, of Stalin and the Gulags in Siberia that were to come later. Of the rise of Marcos, Stroessner, Charles Taylor, Milošević. I recall the Mothers of the Disappeared in Buenos Aires in the 1980s, shouting “¡Nunca más!” And then later those same words in Chile. And after that, in Nicaragua.

At the Billboard Latin Music Awards in Miami, held May 18, Selena won the best regional-Mexican album category for Selena Live, as well as best regional-Mexican female artist. On the following day, at the Premio lo Nuestro a la Musica Latina awards ceremonies, also in Miami, she walked away with Best Female Vocalist in the regional-Mexican category.

Guitar Town was out, and it was doing okay," [Steve] Earle recalled. "But the label didn't want it to happen. Jimmy [Bowen] certainly didn't. He didn't like the record. He didn't like me. But it was out there and got really good reviews, though mostly from the rock side of things. . . . "'Guitar Town' was doing okay as the second single," Earle said. "Then around the same time, Bruce Springsteen walked into Tower Records in L.A. and bought a couple of things. He got Willy DeVille's first solo record, and he bought Guitar Town. A kid who worked there at Tower reported it, and it ended up in a column in Billboard. I sold fifty thousand records the next week and got booked all over the place. So that was it: I had a career largely because Bruce bought my record and it got into print.

We could only conclude that for abused children, the whole world is filled with triggers. As long as they can imagine only disastrous outcomes to relatively benign situations, anybody walking into a room, any stranger, any image, on a screen or on a billboard might be perceived as a harbinger of catastrophe.

Behind the bar, tall females in white feathered tops danced on poles, their faces set in masks of lascivious contempt. Keith Blanchard, then Maxim’s editor-in-chief, told me, “It’s a sexy night!” To me, “sexy” is based on the inexplicable overlap of character and chemicals that happens between people…the odd sense that you have something primal in common with another person whom you may love, or you may barely even like, that can only be expressed through the physical and psychological exchange that is sex. When I’m in the plastic “erotic” world of high, hard tits and long nails and incessant pole dancing—whether I’m at a CAKE party, walking past a billboard of Jenna Jameson in Times Square, or dodging pillows at the Maxim Hot 100—I don’t feel titillated or liberated or aroused. I feel bored, and kind of tense.

Most recently, I worked for this advertising agency that specializes in perceptual marketing. They ensure that whatever ads you see in your everyday life are geared to your specific taste, style, demographic, purchasing history, and countless other interwoven criteria. If you walk by a billboard, it shows you something you actually want or an upgrade to something you already have. They use real-time rolling data feeds, so you might see a different ad depending on your mood before versus after lunch, if you were running late or had time to linger, whether you had sex that night or argued with your spouse that morning. Following a negative experience with some company’s wares, they’d give a competitor a shot at shifting your brand loyalty. My big idea was that clients could pay a monthly fee to see no ads at all. Instead of individualized niche marketing, you could experience a world blissfully emptied of promotional clutter. It was a total failure. Because it turns out people like ads. Especially when they’re targeted to warp the visual environment around you to emphasize your needs above all others, as if you’re the indispensable center of the global economy. Nobody wanted to pay for the privilege of being irrelevant to commercial interests. Except me. I essentially got my employer to launch an expensive new product solely for my use. An industry of one.

The Three Buckets The first bucket contains the people who want to become our customers. They order and fall in love with our products or services and keep reordering from us. They become walking, talking billboards and refer us business. Then there are others who see what we see from a business perspective and they join

My answer: a minimalist wears his or her favorite clothes every day. Most days I wear jeans, a teeshirt, and a pair of boots. Or, when I feel like it, I wear a crisp white button-up shirt, jeans, a blazer, colorful socks, and a clean pair of dress shoes. (I avoid logos because I don’t enjoy being a walking billboard.)

And like cocaine before it, the illicit painkiller trade was dominated by one state: Florida. But the similarities between cocaine and oxycodone ended there. Oxycodone wasn’t created in Colombian jungle laboratories or smuggled in suitcases or on thirty-foot “go-fast” speedboats. It was manufactured in pharmaceutical plants in St. Louis and promoted on highway billboards, and in page after page in the back of the New Times, a free weekly newspaper in South Florida. The bigger advertisements usually showed a woman holding her forehead and wincing, or a man’s torso arched in agony. The ads blared: “CHRONIC PAIN? STOP HURTING AND START LIVING!” Then, in smaller type: “Walk-Ins Welcome. Dispensing On-Site!” Some offered coupons or specials. One clinic’s ad said nothing about pain itself and simply displayed the goods: an amber prescription bottle, dozens of little blue pills tumbling out.

Too often, people pay a premium just for the privilege of become a walking billboard. I am no longer impressed by the logo on your shirt, your purse, or the face of your watch.

Sometimes I wondered if my mother's unconventional choices were her billboard to a cruel world: I DON'T CARE WHAT YOU THINK OF ME. Had she chosen to walk away, or did she withdraw early to avoid failure? Were my mother's eccentricities a strength or just the way she covered up her own vulnerabilities? I knew from my own life that it's easier to pretend you don't want the thing you cannot have. I feared rejection as well. The isolation and lack of communication I had been raised with made me feel—not that I was doing things wrong, but that I was wrong. I feared opening up by home would reveal all my messy, broken bits, all the ways I continually failed. If anyone got close enough to see, I was sure they wouldn't want to know me. After years of shutting people out, how could I possibly let them in?

The most notable thing about the show in all its forms was the commercial. Since 1933, when the first “Calllll for Philip Mor-raisss!” spot went over the air, millions of cigarettes had been sold by a four-foot midget with an uncanny ability to hit a perfect B-flat every time. Johnny Roventini was a $15-a-week bellhop at the Hotel New Yorker when a chance encounter changed his life. Milton Biow, head of the agency handling the Philip Morris account, arrived at the hotel, saw Roventini, and had a stroke of pure advertising genius. Roventini was auditioned there in the hotel lobby: under Biow’s direction, he walked through the hotel paging Philip Morris, and he was soon in show business at $20,000 a year. As the brilliance of the ads became apparent to all, he was given a lifetime contract that was still in effect decades after the last “call” for Philip Morris left the air. He was a walking public relations campaign, reminding people of the product wherever he appeared. “Johnny” ads were prominent on billboards and in magazines. Always in his red bellhop’s uniform, he was “stepping out of storefronts all over America” to remind smokers that they got “no cigarette hangover” with Philip Morris. When MGM’s Leo the Lion died, it was said that Roventini was the only remaining living trademark.