A Quote by Angus Young

By the way he carried himself, you really thought that Bon Scott was immortal. — © Angus Young
By the way he carried himself, you really thought that Bon Scott was immortal.
It's interesting that some people reading the comics see Scott Pilgrim as a blank slate in that they like to imagine themselves as Scott Pilgrim, so it's interesting that there are two kind of schools of thought about the character. One is, like, Scott Pilgrim is awesome. The second is Scott Pilgrim believes himself to be awesome.
Brian Johnson is the reason I became a Bon Scott fan.
The biggest tragedy we had early on was when Bon Scott died.
In grad school, I took a workshop with Scott Spencer, whose excellent novel 'Endless Love' had just been turned into a film. We students were in awe of his prestige. Yet Scott himself was chagrined; for good reason, he hated the movie.
I'm being trained to shake the bon-bon appropriately.
For me, I was really struggling because I was Scott Hall in the gym and Scott Hall in the grocery store and in the ring. Until I got a gimmick, a look, and got to be a character, that's when I started making strides. As Scott Hall, I didn't have a gimmick, so I didn't know what to do.
I think of Bret Hart as somebody who held the Intercontinental championship like it was the World Heavyweight championship. Every title match he was in felt important, like it was the most important thing on the show. The way he carried himself and the matches he had, it was just everything I thought a champion should be.
There is perhaps no truer sign that a man is really advancing than that he is learning to forget himself, that he is losing the natural thoughts about self in the thought of One higher than himself, to whose guidance he can commit himself and all men.
To be immortal is commonplace; except for man, all creatures are immortal, for they are ignorant of death; what is divine, terrible, incomprehensible, is to know that one is immortal.
Scott Eastwood always came in and did a good job. And he's now graduated to better roles, and the chicks are all calling and asking where Scott is. They used to ask where I was. Now they're going, "What about Scott?"
Ridley creates a very immersive world, so when you walk up to a Ridley Scott film set you're in Ridley Scott's imagination, and it's a really comfortable, cool place to be.
We can speak of politics, ethics, and in this way, speak about the world. But at the same time, it's always in a way that is totally nebulous and abstracted, this way of thinking about reality. And that's why I write the way I do - it's an almost immortal way to show dependence on the biological, the political, the moral parts of us. I say immortal because we now have to find new formats, new eloquences, and resolve within ourselves this "constructed" life, a life that is incomplete, imperfect.
Each individual has to know himself. He has to know himself as the infinite, eternal and immortal Consciousness.
I had to admit that in his old-fashioned way O'Hara was still romantic about sex; like Scott Fitzgerald, he thought of it as an upper-class prerogative.
Bon chance, mon ami," Dante called softly. Levet allowed himself a small smile. A vampire who could speak French. He couldn't be all bad.
Every artist's strictly illimitable country is himself. An artist who plays that country false has committed suicide; and even a good lawyer cannot kill the dead. But a human being who's true to himself - whoever himself may be - is immortal; and all the atomic bombs of all the antiartists in spacetime will never civilize immortality.
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