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Architectural kitsch is most common in the commercial pop vernacular - typified by the Big Duck of 1931 in Flanders, New York, a Long Island roadside poultry stand resembling a duck, which Venturi and Scott Brown made a cult object through their writings.
He was so benevolent, so merciful a man that, in his mistaken passion, he would have held an umbrella over a duck in a shower of rain.
Popular culture bombards us with examples of animals being humanized for all sorts of purposes, ranging from education to entertainment to satire to propaganda. Walt Disney, for example, made us forget that Mickey is a mouse, and Donald a duck. George Orwell laid a cover of human societal ills over a population of livestock.
Human beings have a lot of problems identifying themselves with other human beings who don't resemble them exactly. But there's something about drawing that means that anyone can identify to a drawing. I mean, people can identify themselves with Donald Duck and Mickey Mouse.
If you keep your feathers well oiled the water of criticism will run off as from a duck's back.
A fellow with the inventiveness of Albert Einstein but with the attention span of Daffy Duck.
If you know anything about ducks, you know a baby duck will imprint itself on you. It misses its mother.
We will not duck the tough issues, we will lead.
Mike Myers as Austin Powers makes me laugh - that was genius - and Daffy Duck makes me laugh, but I like odd behavior. I don't like hip dialogue and one-liners and all that sort of cool, sophomoric comedy. It's just not for me.