A Quote by Bob Harlan

You have to face reality, and coming off 4-12, you're not going to be the national draw you were previously. But for 13 years, we were a pretty good draw. — © Bob Harlan
You have to face reality, and coming off 4-12, you're not going to be the national draw you were previously. But for 13 years, we were a pretty good draw.
I wrote my first song at 12 and remember someone asking, 'What were you going through at 12 that you could write about?' I get what you're saying, but 11, 12, 13 were the hardest years of my life. You learn everything. You learn how horrible things feel.
I did 13-something years of talking to wrestlers and promoters about why they did certain things and why they booked matches a certain way and what they were thinking and whether they were satisfied with the draw. And I got a lot of insight in the business.
A draw is the lesser of two evils. A loss or a draw, then obviously we are going to take the draw.
If you were to draw Bugs, the easiest way is to learn how to draw a carrot and then hook a rabbit onto it
I draw all the time. Drawing is my backbone. I don't think a painter has to be able to draw, I just think that if you draw, you better draw well.
A lot of the kids we have coming up through our ranks now have been in stock cars since they were 12 or 13 years old. It's much different. I think you have to pick a path. If you want to race open-wheel cars and do those things, it's probably going to be carts and into an open-wheel series.
I did not come from an academic background. My father was a smart man, but he had a fifth-grade education. He and all his friends were plumbers. They were all born around 1905 in great poverty in New York City and had to go to work when they were 12 or 13 years old.
I can't draw. But I can draw with sound. That's the most useful thing I learned in terms of what my craft is... The arrangements were mine. They were little lines and stuff that I had written myself... And I was locked into this idea that vocals didn't count, melodies didn't count, songwriting craftsmanship didn't count. The only thing that counted was high arching guitar solos...
I'm pretty strict with anyone on our crew when people start to draw too well or draw some in-betweens in the animation.
I was very hungry to compete internationally when I was 10 years old, and I was good enough to compete, so that part never made me afraid or worried at all. When I was at my peak, around 12 and 13, I won my junior national and senior national titles back to back.
I used to draw cartoons. I'd just show them to some of my friends, expecting that they were going to appreciate them, that they were going to enjoy reading them.
I found out animation is incredibly boring. You draw and draw and draw, and it's only a few seconds done in a week.
The women I draw all have the same sort of personality. I can't draw gentle girls; I only know how to draw ones who are strong-willed.
You know what I am going to say. I love you. What other men may mean when they use that expression, I cannot tell. What I mean is that I am under the influence of some tremendous attraction which I have resisted in vain, and which overmasters me. You could draw me to fire, you could draw me to water, you could draw me to the gallows, you could draw me to any death, you could draw me to anything I have most avoided, you could draw me to any exposure and disgrace. This and the confusion of my thoughts, so that I am fit for nothing, is what I mean by your being the ruin of me.
I would like to say to children, 'Don't stop drawing. Don't tell yourself you can't draw.' Everyone can draw. If you make a mark on a page, you can draw.
One must always draw, draw with the eyes, when one cannot draw with a pencil.
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