A Quote by Charles R. Johnson

You can't escape history, or the needs and neuroses you've picked up like layers and layers of tartar on your teeth.... Your every past action and thought have made you what you are.
Everything in Louisiana is about layers. There are layers of race, layers of class, layers of survival, layers of death, and layers of rebirth. To live with these layers is to be a true Louisianian. This state has a depth that is simultaneously beyond words and yet as natural as breathing. How can a place be both other-worldly and completely pedestrian is beyond me; however, Louisiana manages to do it. Louisiana is spooky that way.
If you are working, almost like with layers of the Grand Canyon, there's history within those layers.
Sears had layers and layers of people it didn't need. It was very bureaucratic. It was slow to think. And there was an established way of thinking. If you poked your head up with a new thought, the system kind of turned against you. It was everything in the way of a dysfunctional big bureaucracy that you would expect.
I have to strip away all the layers when I'm writing the song. I have to cut through all these layers of years of putting up walls and putting protective layers around myself.
When you look at traditions closely, examine what they really are, you realize they're made up of layers and layers of deferrals, delays, indecisions, tomorrows and long lunches.
I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there, for me.
I think that layers in music, whether it's layers juxtaposing emotions and feelings or layers of texture, make for a more interesting product.
If art made you think, then this was Art. Staring at the ball, made of layers and layers of cloth, I wondered about the glass marble at its heart. What if you wanted to reach that marble? Make sure it was still whole? You'd have to remove the layers. You'd have to risk breaking the ball for a chance at freeing it. Fear, knowledge, certainty - you'd have to be willing to let them all go.
I collect paint like I collect sound. And then I use layers, layers, layers.
You have so many layers, that you can peel away a few, and everyone's so shocked or impressed that you're baring your soul, while to you it's nothing, because you know you've twenty more layers to go.
I still look at that water, and I look at Moana's hair, and I'm just like, "How is this even happening?" It's such an incredible mix of technical mastery and wizardry. It's really incredible. It's layers and layers and layers. It's not unlike building a musical. It's really pretty cool.
As a novelist, you deepen your characters as you go, adding layers. As a reporter, you try to peel layers away: observing subjects enough to get beneath the surface, re-questioning a source to find the facts. But these processes aren't so different.
I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
As you get older, you have more and more layers of experience to forgive, more layers of heartbreak, more layers of what you might think of as failure.
So just look into your acts, into your thoughts, into your feelings: you will find the armor everywhere. Wherever you see fear, you have created it. It was needed at one time - now it is no longer needed. A simple understanding that it is no longer needed... now it is a barrier, a hindrance, a burden. If you find something truthful, it will have its own validity. But in the armor you will not find anything that has any connection with truth. The whole armor is made of fear - layers and layers of fear.
I am rather partial to Shakespeare, though I haven't done loads. But when it's done right, there's nothing like it. There are layers upon layers upon layers, and you unpack new things constantly. I don't know how he knew so many things - about the world, about women, about human nature, life, death, our fears and hopes.
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