A Quote by Don Rickles

I used to work over a bar. That was - there was no stage. I stood over a tiny bar. Louis Prima, rest his soul, he worked there. I was the guy that filled in when he was off the stage.
I get the Reese's candy bar. You look at that, there's an apostrophe-s there. That means the candy bar is his. I didn't know that. Next time you're eating a Reese's candy bar, and a guy named Reese comes by and says, "Gimme that", you better hand it over.
When you're on-stage, you're expected to perform in the bar business. You shake hands. You smile. You're all positive energy: you add to your environment. When you walk in the door to the back of the house, that's like a stage door. You're off-stage now.
One time, I came off stage and a guy named Roman Decare, God rest his soul, he was a comic. 'Louie, if you do that family stuff, and you're a clean comic on stage, you'll become famous.' And, for some reason, a switch clicked, and I started doing the family stuff, and it became a giant part of my life.
When I started lifting weights, I remember I could barely bench the bar. I mean, I'm shaking all over the place, the bar's falling, and I'm like, 'I can't lift 45 pounds,' but it just goes to show how much work I put in.
I worked in this bar called the Raincheck Room in the '60s; it used to be over on Santa Monica Boulevard, and, y'know, it was a pretty hip place. Lots of actors hung out there.
A guy walks into a bar, orders a drink, sees a girl that catches his eye. Asks her if she wants another, they fall for each other and end up lovers. They laugh, cry, hold on tight and make it work for a little while, then one night her taillights fade out into the dark. And a guy walks into a bar
I went to Canada and played in this tiny bar where the windows were steaming up and everybody was so animated and singing along right there at the foot of the stage, looking up, and I got my mojo back .
A jazz tune, melody, or composition is usually based on either a traditional twelve-bar, eight-bar, or four-bar blues chorus or on the thirty-two-bar chorus of the American popular song.
Steven and I stood on the stage at the Boston Garden after the Stones had just played there and the stage was still up. We had been playing cards, maybe a high-school dance, to 400 or 500, maybe a thousand. We just stood on the stage and thought, 'Well,man,maybe someday.' In 4 years that was OUR stage.
I worked at this great Toronto bar, Indian Motorcycle. I started off as the grunt. I was the guy who cleaned up the puke and the ashtrays and the garbage. Worked in front from four in the afternoon until four in the morning.
I used to live on one candy bar a day - it cost a nickel. I always remember the candy bar was called Payday. That was my payday. And that candy bar tasted so good, at night I would take one bite, and it was so beautiful.
People like to set the bar high. I like to put the bar on the ground and barely step over it. I like to keep the expectations really low.
A guy in Pennsylvania was arrested because he was drunk in his golf cart going from bar to bar. So they arrested him. I said: Wait a minute. Isn't that golf?
We might have, with Hockey Canada, an Aero Bar, a chocolate bar. 'Okay we're going to play for this chocolate bar.' Here you have guys who made millions of dollars, they're professional athletes, and they will fight tooth and nail to win. It's not necessarily for the chocolate bar. It's the competitive spirit.
Over the last ten years, technological advances have dramatically lowered the financial bar for starting a new company, but the courage bar for building a great company remains as high as it has ever been.
I take that stage, and I'm the same guy backstage as I am on the stage. And you know what that guy is. That guy is a star. That guy is a champion. That guy is the guy that put '205 Live' on the map.
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