hard-on:

1. An erection of the penis . Also spelled: hardon.
SYNONYMS: bone-on ; boner ; rod-on ; stiff-on .

QUOTES:

(1) Bill (Emilio Estevez) to Chris (Richard Dreyfuss) in Stakeout (1987): ' I would appreciate that you not act like a walking-hard-on when we work together .'

(2) Mike Brennan (Nick Nolte) to Luis Valentin (Luis Guzman) in Q & A (1990): ' You fuck with me, better you piss a kidney stone through your hard-on .'

2. Have a hard-on-for , to lust-after ; to desire someone or something. Synonym: hot-for .

Quote: Parry (Robin Williams) to Lydia Sinclair (Amanda Plummer) in The Fisher King (1991): ' I have-a-hard-on-for you the size of Florida .'

See Also: Amare et sapere vix deo conceditur, blobs, broken balls, brown trout, butt dumpling, diddley-poo, grind it, grind one's tool, half-mast, hand labor, hard breathing, hardcore, set one's cap for, spot hard breathing, a, THO, titty hard-on, wide-on, work one's ass off

Quotes Containing hard-on:
Bill (Emilio Estevez) to Chris (Richard Dreyfuss) in Stakeout (1987): ''I would appreciate that you not act like a walking-hard-on when we work together.''
Mike Brennan (Nick Nolte) to Luis Valentin (Luis Guzman) in Q & A (1990): ''You fuck with me, better you piss a kidney stone through your hard-on .''
Parry (Robin Williams) to Lydia Sinclair (Amanda Plummer) in The Fisher King (1991): ''I have-a-hard-on-for you the size of Florida.''
Therapist Dr. Ben Sobel (Billy Crystal) and mafia boss Paul Viti (Robert De Niro) in Analyze This (1999): - Dr. Sobel: 'You flew all-the-way to Miami because you were unable to have an erection? You know you can take a pill for that.' - Paul Viti: 'Nah, a pill's cheating . You start with that, the next thing you know you're installing a whole hydraulic system down-there . A hard-on should be achieved naturally or not at all.'
Therapist Dr. Ben Sobel (Billy Crystal) and mafia boss Paul Viti (Robert De Niro) in Analyze This (1999): - Dr. Ben Sobel: ''You flew all-the-way to Miami because you were unable to have an erection? You know you can take a pill for that.'' - Paul Viti: ''Nah, a pill''s cheating . You start with that, the next thing you know you''re installing a whole hydraulic system down-there . A hard-on should be achieved naturally or not at all.''
Do you always take matters into your own hands?' Agent 3.14 (Nicolette Sheridan) to WD40, Dick Steel (Leslie Nielsen) in Spy Hard (1999)
Robert Schimmel guest star on the Rodney Dangerfield comedy special Nothin'' Goes Right (1988): ''Some of these guys only like it if they think the girl doesn''t like it ; it''s some sort of weird power trip thing for these guys. It''s like anal-sex . I think if you really wanted to try that with a girl and she said: ''OK, but be really gentle because no one ever did anything like this to me before.'' You''d get the hard-on of a lifetime. But if she said: ''Give me that big dick and drive me around the block .'' You wouldn''t be able to get-it-up if there was money involved.''
''I won''t bite ... hard.'' Austin Powers (Mike Myers) to Vanessa Kensington (Elizabeth Hurley) in Austin Powers (1998)
'I've got arms up to wazoo .' The armless madman General Rancor (Andy Griggith) in Spy Hard (1998) speaking about his collection of artificial arms.
Agent 3.14 (Nicolette Sheridan) to WD40 / Dick Steel (Leslie Nielsen) in Spy Hard (1998): ''Do you always take matters into your own hands?''
Agent 3.14 (Nicolette Sheridan) to WD40 / Dick Steel (Leslie Nielsen) in Spy Hard (1998): ''Do you always take matters into your own hands?''
Spymaster Norman Coleman (Barry Bostwick) speaking of General Rankor (Andy Griffith) in Spy Hard (1996): - Coleman: ''Good God! He must be stopped!'' - Rankor: ''Dick Steele couldn''t stop me fifteen years ago, and all the Dicks you got won''t stop me now!'' - Coleman: ''Well, apparently he hasn''t euh, seen the size of some of our newer members!''
Luna Schlosser (Diane Keaton) and Miles Monroe (Woody Allen) who was frozen in the year 1973 and awakened in 2173 in Sleeper (1973): - Luna: 'It's hard to believe you haven't had sex for two hundred years.' - Miles: 'Two hundred and four if you count my marriage .'
Ellis (Dan Aykroyd) and Mac (Gene Hackman) in Loose Cannons (1990): - Ellis Fielding: '' S & M club? Like sadism and masochism?'' - MacArthur Stern: ''Yeah, you know , you scratch my back , I''ll scratch yours, only real hard.''
Reggie Hammond (Eddie Murphy) in 48 HRS. (1983): ''I''ve been in prison for three years. My dick gets hard after the wind blows. ''
''Al. Al Reardon. My father! My moral, uptight, coffee-slurping, status-seeking, putting-in-overtime, hard-day-at-the-office, early-rising early-bedding, make-your-own-way-in-life father had been screwing Joyce Fickett. (...) No wonder I was having so much trouble. It was hereditary.'' Jimmy Reardon (River Phoenix) after discovering that his father Al (Paul Koslo) has been having an affair with Joyce (Ann Magnuson) for years in A Night in the Life of Jimmy Reardon (1988)
''Al. Al Reardon. My father! My moral, uptight, coffee-slurping, status-seeking, putting-in-overtime, hard-day-at-the-office, early-rising early-bedding, make-your-own-way-in-life father had been screwing Joyce Fickett. (...) No wonder I was having so much trouble. It was hereditary.'' Jimmy Reardon (River Phoenix) after discovering that his father Al (Paul Koslo) has been having an affair with Joyce (Ann Magnuson) for years in A Night in the Life of Jimmy Reardon (1988)
Chris Morel (John Wayne) to Clara (Sheila Terry) in ''Neath the Arizona Skies (1934): ''Some men are like books written in a strange language, and that makes it awfully hard to read them.''
Chris Morel (John Wayne) to Clara (Sheila Terry) in ''Neath the Arizona Skies (1934): ''Some men are like books written in a strange language, and that makes it awfully hard to read them.''
Clifford Stern (Woody Allen), a married man , tells his niece Jenny (Jenny Nichols) about his infatuation with Holly Reed (Mia Farrow) in Crimes and Misdemeanors (1989): ''My heart says one thing my head says another. It''s very hard to get your head and heart together in life . (...) In my case they''re not even friendly .''
Agent WD40, Dick Steel (Leslie Nielsen) to the spy in his bed in Spy Hard (1998): ''Don''t thank me, darling . The art of lovemaking takes two... sometimes three or four depending on how well you do at the crap tables.''
'Oh, Dick! You came for me.' Agent 3.14 (Nicolette Sheridan) to Agent WD40, Dick Steele (Leslie Nielsen) in Spy Hard (1999) who came to rescue her.
Paula Pokrifki (Debra Winger) to Zach Mayo (Richard Gere) in An Officer and a Gentleman (1982): ''How can you resist? I''m like candy . It''s going to be very hard to get enough.''
Paula Pokrifki (Debra Winger) to Zach Mayo (Richard Gere) in An Officer and a Gentleman (1982): ''How can you resist? I''m like candy . It''s going to be very hard to get enough.''
Paula Pokrifki (Debra Winger) to Zach Mayo (Richard Gere) in An Officer and a Gentleman (1982): 'How can you resist? I'm like candy . It's going to be very hard to get enough.'
Charles Panati. Sexy Origins and Intimate Things (1998): ''Thanks to photography and film, Americans have created and worshiped more femme icons than all previous centuries combined. Each of our decades has produced several new images. For the most part, men dreamed up these images and named them, and women have worked hard to copy their shapes and costumes. If there is a single attribute that most of these modern images possess, its "sex-appeal " - a relatively new and daring term in English. American men have categorized their women by sexual types and nicknamed them with suggestively playful tags. In centuries past, where a virtue-vice dichotomy prevailed, women came in only two types: good or bad , whores or madonnas, mothers or mistresses. ''
Charles Panati. Sexy Origins and Intimate Things (1998): ''The most popular explanation for the link between fashion and eroticism, and rapid changes in styles, is the sex-appeal theory, also known as the theory of shifting erogenous-zones . Proponents of the theory argue that the primary purpose of all womens fashion is the desire to continually reattract the opposite-sex . The driving force behind seasonal changes in styles is to arouse men sated by last seasons "look" to turn-on to a new "look." In todays sexually liberated and sex-saturated times, fashion is driven by the seduction principle. With so much sexual imagery in the media, men get sated quickly, and women must work hard to reseduce them with styles that continually shift the erogenous zone from breasts to bellies to backs to legs to hair to lips . Men, for their part, positively yearn to be reseduced, over and over again. All of this seduction, says the theory, is to fulfill the biological imperative to continue the species, even if the sexes thwart conception at every chance they get .''
Taylor (Mark Harmon) and Veronica (Madeleine Stowe) in Worth Winning (1989): - Taylor: ''Veronica, it is not real life , it is a fairy tale. Come on! Did you ever read The Frog Prince? In that one he''s staying a frog until she kisses him and brings him back to life .'' - Veronica : ''Yeah, well I kissed a lot of frogs and I haven''t met a prince yet.'' - Taylor: ''You''re kissing the wrong frogs. It''s hard to find the right person. It''s a search, a process. I don''t think it''s supposed to be easy.'' -Veronica: ''You know , some say you have to kiss a frog twice.''
Charles Panati. Sexy Origins and Intimate Things (1998): ''Thanks to photography and film, Americans have created and worshiped more femme icons than all previous centuries combined. Each of our decades has produced several new images. For the most part, men dreamed up these images and named them, and women have worked hard to copy their shapes and costumes. If there is a single attribute that most of these modern images possess, its "sex-appeal " - a relatively new and daring term in English. American men have categorized their women by sexual types and nicknamed them with suggestively playful tags. In centuries past, where a virtue-vice dichotomy prevailed, women came in only two types: good or bad , whores or madonnas, mothers or mistresses. ''
Charles Panati. Sexy Origins and Intimate Things (1998): ''The most popular explanation for the link between fashion and eroticism, and rapid changes in styles, is the sex-appeal theory, also known as the theory of shifting erogenous-zones . Proponents of the theory argue that the primary purpose of all womens fashion is the desire to continually reattract the opposite-sex . The driving force behind seasonal changes in styles is to arouse men sated by last seasons "look" to turn-on to a new "look." In todays sexually liberated and sex-saturated times, fashion is driven by the seduction principle. With so much sexual imagery in the media, men get sated quickly, and women must work hard to reseduce them with styles that continually shift the erogenous zone from breasts to bellies to backs to legs to hair to lips . Men, for their part, positively yearn to be reseduced, over and over again. All of this seduction, says the theory, is to fulfill the biological imperative to continue the species, even if the sexes thwart conception at every chance they get .''
Charles Panati. Sexy Origins and Intimate Things (1998): ''Thanks to photography and film, Americans have created and worshiped more femme icons than all previous centuries combined. Each of our decades has produced several new images. For the most part, men dreamed up these images and named them, and women have worked hard to copy their shapes and costumes. If there is a single attribute that most of these modern images possess, its "sex-appeal " - a relatively new and daring term in English. American men have categorized their women by sexual types and nicknamed them with suggestively playful tags. In centuries past, where a virtue-vice dichotomy prevailed, women came in only two types: good or bad , whores or madonnas, mothers or mistresses. ''

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