A Quote by Dick Costolo

I was in Shanghai recently, where Twitter is blocked, and yet there were ads and billboards across town with hashtags on them. — © Dick Costolo
I was in Shanghai recently, where Twitter is blocked, and yet there were ads and billboards across town with hashtags on them.
I am the queen of hashtags! I love hashtags. I think in hashtags. I wish I could write everything in hashtag.
Twitter is 'Black Twitter'. That is a brand that 'Black Twitter' has given itself. That's where the hashtags happen... where the excitement is.
The semiology and phenomenology of hashtaggery intrigues me. From what I understand, it all began very simply: on Twitter, hashtags - those little checkerboard marks that look like this # - were used to mark phrases or names, in order to make it easier to search for them among the zillions and zillions of tweets.
Why do we even use hashtags? It's just like a sub-thought. Who clicks on hashtags? Nobody.
Despite the metadata attached to each tweet, and despite trails of retweets and 'favorite' tweets, the Twitter corpus lacks the latticework of hyperlinks that makes Google's algorithms so potent. Twitter's famous hashtags - #sandyhook or #fiscalcliff or #girls - are the crudest sort of signposts, not much help for smart searching.
I was in Shanghai when the Japanese invaded China. I was there in Shanghai when, the morning after Pearl Harbor, they seized Shanghai.
The once inviolate frame within which programs or commercials were displayed on television - always separately - has been violated to a pulp. Program content is seen increasingly as a mere backdrop on which ads are posted like billboards on a fence.
According to one critic, my works looked like scraped billboards. I went to look at the billboards and decided that more billboards should be scraped.
I don't think anyone would object to Facebook selling ads or having ads directed at me, as long as people didn't think those ads were manipulated by personal data.
I showed what I can do with butter, right? Eighty-five percent increase in sales. I'm very proud of them Country Life ads. They were funny and clever and classy like the Toblerone ads I grew up with.
Before I really became interested in fashion, all I would look at in a fashion magazine was the ads. It only dawned on me recently that just looking at the ads really doesn't teach you everything you need to know about the fashion world.
When you get one blocked and another partially blocked, you've got to see if you're hitting them low or what.
The street is the most impactful for me really, always, and the Internet. I guess I'd like to sell some more light pieces so I can rent some more billboards; that's my only ambition in life really. Then I'd like to save up some money so I can buy a very simple wooden house, and then after that I'd like to start buying billboards. I'd like to buy a bunch of billboards in different cities so we owned them and I could give them to Occupy to tell the truth with.
We blocked them inside the city. Their rear is blocked.
In India, it's tough to shoot a period film outdoors. You cannot find mud roads without wires, signage and billboards with ads of mobile phones even in rural areas.
When you're reading a newspaper and you're seeing ads on the page, it's not kind of invasive. Like, it's on the page next to the article. You can look at it or not. You can turn the page when you're ready. On the internet, the ads - many of the ads - just are so controlling. They insist that you see them.
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