Quotes about advertising
page 3

“Half my advertising is wasted but I do not know which half.”
Lord Leverhulme, as cited in: John Sherman Wright, John E. Mertes (1974), Advertising's role in society, p. 78
This quote has also been attributed to John Wanamaker and George Washington Hill

Source: The Psychology of Advertising in Theory and Practice, 1908, p. 176

Source: The Invisible Bankers, Everything The Insurance Industry Never Wanted You To Know (1982), Chapter 4, Tell Us The Odds, p. 70.

“advertising […] makes you spend money you haven't got for things you don't want.”
As the Connecticut Yankee Hank Morgan / Sir Boss in the 1931 film A Connecticut Yankee (after Mark Twain). Cf. Ivan G. Shreve Jr: Thrilling days of yesteryear blogspot.de/2009/09 http://thrillingdaysofyesteryear.blogspot.de/2009/09/grey-market-cinema-connecticut-yankee.html. Also quoted in Printers' Ink magazine, volume 156, issue 1 (1931), p. 3 books.google https://books.google.com/books?id=-oULAQAAIAAJ&q=arthur's and Advertising Outdoors Vol. 2, No. 8 (August 1931), p. 19 https://books.google.com/books?id=rZcXAQAAMAAJ&q=definitions, https://books.google.com/books?id=rZcXAQAAMAAJ&q=spend+money = http://www.forgottenbooks.com/readbook_text/Advertising_Outdoors_1000005193/373
As quoted in ...

" Towards a Mathematical Science of Computation http://www-formal.stanford.edu/jmc/towards.html", Information Processing 1962: Proceedings of IFIP Congress 62, ed. Cicely M. Popplewell (Amsterdam, 1963), pp. 21–28
1960s
Source: The transformation of corporate control, 1993, p. 232
In response https://www.lesswrong.com/posts/YdfpDyRpNyypivgdu/aalwa-ask-any-lesswronger-anything#miERerX6pSgG4ac5x to the question "Do you think that most people should be very uncertain about their values, e.g. altruism?", March 2014
Blue Like Jazz (2003, Nelson Books)
Source: The Passionate Life (1983), pp. 23-24

Washington Rain Dance, p. 17
Waiting For The Barbarians (1997)

Edward A. Shanken. " The House That Jack Built: Jack Burnham's Concept of "Software" as a Metaphor for Art http://www.artexetra.com/House.html" in Leonardo Electronic Almanac 6:10 (November, 1998)

Chap. 2: The New Being
The New Being (1955)

Pages 45-46.
The Silent State: Secrets, Surveillance and the Myth of British Democracy, 1st Edition

"Fooling the People as a Fine Art", La Follette's Magazine (April 1918)

Source: The Psychology of Advertising in Theory and Practice, 1908, p. 370-371

Quote from (MPC 3); as cited in Dali and Me, Catherine Millet, - translation Trista Selous -, Scheidegger & Spiess AG, 8001 Zurich Switzerland, p. 167
Quotes of Salvador Dali, 1951 - 1960

"The Gift of Death" http://www.monbiot.com/2012/12/10/the-gift-of-death/, The Guardian, 11 December 2012.

1994, p. 45
Integrity in Science (1985)

Source: "Quotes", Notebooks and Lectures on the Bible and Other Religious Texts (2003), p. 95-6
“Commerce and Culture,” p. 281.
Giants and Dwarfs (1990)
Prostitution, Trafficking, and Cultural Amnesia (2006)

Source: Freedom™ (2010), Chapter 2: Operation Exorcist, Character: a principal from the lobbying firm Byers, Carroll, and Marquist (BCM)
mehitabel (1959).

Source: The reality of the Mass Media (2000), p. 106 as cited in: John Downin (2004) The SAGE Handbook of Media Studies. p. 234.

Ruminator Magazine interview with Susannah McNeely (August/September 2005).

Quote, 1950, in: Fernand Léger - The Later Years, catalogue ed. Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 58
Quotes of Fernand Leger, 1950's
“The Taste of the Age”, pp. 19–20
A Sad Heart at the Supermarket: Essays & Fables (1962)
Page 220
A Discord of Trumpets (1956)
Source: General System Theory (1968), 9. General Systems Theory in Psychology and Psychiatry, p. 206

Satya, November, 2000 http://www.satyamag.com/novdec00/newkirk.html.
2000
The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

1980s, GNU Manifesto (1985)
Source: Growing Up Absurd (1956), pp. 36-37.

"'Promise' as an Institution", in The Doom of Youth (London: Chatto & Windus, 1932).

Quote from Legér and America, exhibition catalogue Fernand Léger, Buffalo 1982, p. 52
Quotes of Fernand Leger, 1980's

"Introduction", Beginning To See the Light: Pieces of a Decade (1981)

Speech at the University of Kansas at Lawrence http://www.jfklibrary.org/Research/Research-Aids/Ready-Reference/RFK-Speeches/Remarks-of-Robert-F-Kennedy-at-the-University-of-Kansas-March-18-1968.aspx (18 March 1968)

Hypnotising for improvement of eyesight, in “Neurypnology; or, The rationale of nervous sleep, considered in relation ...”, p. 68.

My Journey: Transforming Dreams into Actions

The Apprentice, Series 1

"Dawn of the Electronic Age" http://blog.modernmechanix.com/2006/03/20/dawn-of-the-electronic-age/, Popular Mechanics, January 1952

25th anniversary of the International Relations Center in Santa Fe, New Mexico, January 26, 2005
Quotes 2000s, 2005

Hans Freudenthal (1977), Weeding and Sowing: Preface to a Science of Mathematical Education, p. 56
“Texts from Housman”, p. 27
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

In The Garden Of Tabloid Delight, p. 197
Waiting For The Barbarians (1997)

“Price tags advertise your pride.”
Lyrics, A Crow Left of the Murder... (2004)

Julian and the Antiochians http://www.cavafy.com/poems/content.asp?id=107&cat=1
Collected Poems (1992)

Letter circulated around November 1484, as quoted in Annette Carson (2009), Richard III: The Maligned King, The History Press, page 245

as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51
Source: The Passionate Life (1983), p. 102
Source: Living In The Number One Country (2000), Chapter Three, Communication Today: What's New?, p. 94

Essays, The Psychology of Advertising (1937)

The End of the Universe (2002)

Man in the Modern Age (1933)
Context: When the titanic apparatus of the mass-order has been consolidated, the individual has to serve it, and must from time to time combine with his fellows in order to renovate it. If he wants to make his livelihood by intellectual activity, he will find it very difficult to do this except by satisfying the needs of the many. He must give currency to something that will please the crowd. They seek satisfaction in the pleasures of the table, eroticism, self-assertion; they find no joy in life if one of these gratifications be curtailed. They also desire some means of self-knowledge. They desire to be led in such as way that they can fancy themselves leaders. Without wishing to be free, they would fain be accounted free. One who would please their taste must produce what is really average and commonplace, though not frankly styled such; must glorify or at least justify something as universally human. Whatever is beyond their understanding is uncongenial to them.
One who would influence the masses must have recourse to the art of advertisement. The clamour of puffery is to-day requisite even for an intellectual movement. The days of quiet and unpretentious activity seem over and done with. You must keep yourself in the public eye, give lectures, make speeches, arouse a sensation. Yet the mass-apparatus lacks true greatness of representation, lacks solemnity. <!-- pp. 43 - 44

Lipstick Traces : A Secret History of the 20th Century (1989), pp. 147–148.
Context: Complete freedom meant — no one knew. It was most readily defined in the negative: not this gap between the heaven promised in the new advertisements and the everyday satisfactions I can buy. Not the sense that when I leave my work for my family, and bring my family to a Sunday in the park, my leisure feels like work. Not this mad conviction that I’m a stranger in my own home town, that at work I feel like a machine, that in the park I feel like an advertisement, that at home I feel like a tourist.

“I saw an advertisement the other day for the secret of life.”
"Are You Spotty?" (1964)
E. L. Wisty
Context: I saw an advertisement the other day for the secret of life. It said "The secret of life can be yours for twenty-five shillings. Sent to Secret of Life Institute, Willesden." So I wrote away, seemed a good bargain, secret of life, twenty-five shillings. And I got a letter back saying, "If you think you can get the secret of life for twenty-five shillings, you don't deserve to have it. Send fifty shillings for the secret of life."

Source: The Economic Illusion (1984), Chapter 5, Taxes, p. 208
Context: The total impact of the Reagan tax cuts on capital lowered the effective cost of capital to American industry by an estimated 1.2 percent. Unfortunately, the Laffer curve did not work as advertised. Lower tax rates did not produce more tax revenues. They produced deficits.

"Tom Wolfe's Failed Optimism" (1977), Beginning To See the Light: Pieces of a Decade (1981)
Context: My education was dominated by modernist thinkers and artists who taught me that the supreme imperative was courage to face the awful truth, to scorn the soft-minded optimism of religious and secular romantics as well as the corrupt optimism of governments, advertisers, and mechanistic or manipulative revolutionaries. I learned that lesson well (though it came too late to wholly supplant certain critical opposing influences, like comic books and rock-and-roll). Yet the modernists’ once-subversive refusal to be gulled or lulled has long since degenerated into a ritual despair at least as corrupt, soft-minded, and cowardly — not to say smug — as the false cheer it replaced. The terms of the dialectic have reversed: now the subversive task is to affirm an authentic post-modernist optimism that gives full weight to existent horror and possible (or probable) apocalyptic disaster, yet insists — credibly — that we can, well, overcome. The catch is that you have to be an optimist (an American?) in the first place not to dismiss such a project as insane.

American Photo (January/February 2000), p. 90
Context: Since the commercialization and banality of editorial magazine pages have made this work uninteresting, advertising has become an increasingly important part of my work. It is interesting to compare European and American mores in regard to my work. One will notice that most of my European images have a stronger sexual content that those destined for American publication. The term "political correctness" has always appalled me, reminding me of Orwell's "Thought Police" and fascist regimes.

ZNet commentary (35 November 1999) http://www.zmag.org/sustainers/content/1999-11/25zinn.htm
Context: Why should we accept that the "talent" of someone who writes jingles for an advertising agency advertising dog food and gets $100,000 a year is superior to the talent of an auto mechanic who makes $40,000 a year? Who is to say that Bill Gates works harder than the dishwasher in the restaurant he frequents, or that the CEO of a hospital who makes $400,000 a year works harder than the nurse or the orderly in that hospital who makes $30,000 a year? The president of Boston University makes $300,000 a year. Does he work harder than the man who cleans the offices of the university? Talent and hard work are qualitative factors which cannot be measured quantitatively.
Narration for Crash! (1971), a short film by Harley Cokeliss
Context: I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape. The sense of violence and desire, power and energy; the shared experience of moving together through an elaborately signalled landscape.
We spend a substantial part of our lives in the motor car, and the experience of driving condenses many of the experiences of being a human being in the 1970s, the marriage of the physical aspects of ourselves with the imaginative and technological aspects of our lives. I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death.

“Promise, large promise, is the soul of an advertisement.”
No. 40 (January 20, 1759)
The Idler (1758–1760)
Context: Advertisements are now so numerous that they are very negligently perused, and it is, therefore, become necessary to gain attention by magnificence of promises, and by eloquence sometimes sublime and sometimes pathetick. Promise, large promise, is the soul of an advertisement.

Source: Isaiah's Job (1936), III
Context: If, say, you are a preacher, you wish to attract as large a congregation as you can, which means an appeal to the masses; and this, in turn, means adapting the terms of your message to the order of intellect and character that the masses exhibit. If you are an educator, say with a college on your hands, you wish to get as many students as possible, and you whittle down your requirements accordingly. If a writer, you aim at getting many readers; if a publisher, many purchasers; if a philosopher, many disciples; if a reformer, many converts; if a musician, many auditors; and so on. But as we see on all sides, in the realization of these several desires, the prophetic message is so heavily adulterated with trivialities, in every instance, that its effect on the masses is merely to harden them in their sins. Meanwhile, the Remnant, aware of this adulteration and of the desires that prompt it, turn their backs on the prophet and will have nothing to do with him or his message.
Isaiah, on the other hand, worked under no such disabilities. He preached to the masses only in the sense that he preached publicly. Anyone who liked might listen; anyone who liked might pass by. He knew that the Remnant would listen; and knowing also that nothing was to be expected of the masses under any circumstances, he made no specific appeal to them, did not accommodate his message to their measure in any way, and did not care two straws whether they heeded it or not. As a modern publisher might put it, he was not worrying about circulation or about advertising. Hence, with all such obsessions quite out of the way, he was in a position to do his level best, without fear or favour, and answerable only to his august Boss.

“When a society spends more on advertising than it does on education, where is it headed?”
Source: The New Party - (1961), Chapter 8, The Forecast Is Good, p. 102
Context: What shall it profit us, unless life in the midst of it all has meaning? When a society spends more on advertising than it does on education, where is it headed?

“The art of the future will be largely advertising.”
Depero (1931) "Futurism and Adverticing Art"; Partly quoted in: Jonathon Keats, " Fortunato Depero's Italian Futurism http://www.forbes.com/forbes-life-magazine/2009/0608/art-fortunato-depero-italian-futurism.html," forbes.com, 2009/06/08
Context: The art of the future will be largely advertising.
that bold and unimpeachable lesson I have learned from museums and great works from the past—
all art for centuries past has been marked by advertising purposes: the exaltation of the warrior, the saint; documentation of deeds, ceremonies, and historical personages depicted at their victories, with their symbols, in the regalia of command and splendor—
even their highest products were simultaneously meant to glorify something: architecture, royal palaces, thrones, drapery, halberds, standards, heraldry and arms of every sort—
there is scarcely an ancient work that doesn’t have advertising motifs, a garland with a trophy, with weapons of war and victory, all stamped with seals and the original symbols of clans, all with the self-celebrating freedom of ultra-advertising
Leon MacLaren, Nature of Society and Other Essays, p169

'Up The Garden', The Spectator (22 January 1960), pp. 8–9
1960s

Source: Democracy for the Few (2010 [1974]), sixth edition, Chapter 10 , p. 177
Pi in the Sky (p. 242)
Short fiction, From These Ashes (2000)