A Quote by Lee Corso

I'm like an old vaudeville act. They'll have to pull me off the stage with a hook. — © Lee Corso
I'm like an old vaudeville act. They'll have to pull me off the stage with a hook.
I was very interested in vaudeville. It was the only sort of discipline that was a five-minute act on stage, which is what I really enjoyed and saw myself doing. And I bought books on it.
For a lot of people looking at a 19-year-old model, there's a feeling that 'I can't pull that off.' But there's so much you can pull off if you can find the confidence to look at fashion in a different way and make it unique for yourself.
For me, my preference for comedy is grounding it in the psychology of the character, and not just kind of making faces. Even when it's a crazy character, grounded comedy resonates more with people because it doesn't look like you're watching someone do vaudeville. No offense to vaudeville.
What I do on stage, you won't catch me doing off stage. I mean, I think deep down I'm still kind of, like, timid and modest about a lot of things. But on stage, I release all that; I let it go.
A lawyer wants to get his client off the hook. And even if he knows the client is guilty, he is going to find ways and means of getting him off the hook.
Jesus isn't lettin' you off the hook. The Scriptures don't let you off the hook so easily... When people say, you know, 'Good teacher', 'Prophet', 'Really nice guy' ... this is not how Jesus thought of Himself.
And angling too, that solitary vice, What Izaak Walton sings or says: The quaint, old, cruel coxcomb, in his gullet Should have a hook, and a small trout to pull it.
My act is an exaggeration of a part of me. I'm much more expressive off stage.
My act is so completely and totally uncensored that the only way I could really pull it off is if I treat the audience like they're my best friends.
[My father] taught me (at least he showed me) a dignified way to be a former president is that once you're off the stage, you're off the stage.
I don't get particularly precious about things like this, though. Like the record company said, "We need a radio edit that delivers the hook" - I don't even know what they consider the hook in that song ["Oh No"] - "that delivers the hook sooner." So I'm like, "Okay. I see that." And they were all walking on eggshells, like is this going to be sacrilegious to me or something, to mess with this art I've created? And I'm like, "Great. I get to tinker with it, I get to mess with my song some more."
The act of smelling something, anything, is remarkably like the act of thinking. Immediately at the moment of perception, you can feel the mind going to work, sending the odor around from place to place, setting off complex repertories through the brain, polling one center after another for signs of re recognition, for old memories and old connection.
I find it really cool when people have this artist persona they can put on. They can go out and act like this other person; I can't pull that off... I can't censor myself.
Touring on 'Folie' was like being the last act at the vaudeville show: We were rotten vegetable targets in clandestine hoods.
Well, it's really gratifying to me to have a stage and some bright lights and a microphone. They're tools and opportunities, and to be able to just pull somebody up on stage with me and point at them is a great feeling.
The world's a stage, & everything else is Vaudeville.
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