A Quote by Scott Hall

I was kind of like the Tito Santana of my era. — © Scott Hall
I was kind of like the Tito Santana of my era.
Tito Santana was one of the hardest working guys in the business. When Tito used to make that comeback, the people went crazy because he had so much fire. He had so much damn energy. He could just go and go and go.
Tito Santana is like a cue-ball. The more you strike him, the more english you get out of him.
I remember the first time I fought somebody with a name and that was Tito Ortiz. I didn't start fighting until like the second round because I was like, 'Oh my God, that's Tito Ortiz. That's Tito Ortiz from TV. Look how big his head is, damn.'
I often run into wrestlers at comic conventions or wrestling events, and it could be Tito Santana or Demolition, and I'm just flooded with memories. It's always nice to see one of your old mates, especially the ones who I knew from further back.
I'm really kind of a little bit romantic for the lost era. There's a lot of us that are - kind like James Murphy, same thing - we feel like it's this magic era that happened before us. And it wasn't even necessarily disco.
Being a New Yorker, I used to dance to Latin music. There was a place called the Palladium on Broadway. And Tito Puente and Tito Rodriguez used to play. So I still have that in my blood.
In 1942 Cachao wrote a tune for Arcao, 'Rareza de Melitn,' with a memorable catchy tumbao. In 1957 Arcao recorded a reworking of it under the name 'Chanchullo'; and in 1962 Tito Puente reworked that into 'Oye como va,' still with that same groove. In this form, audibly the same, it powered Carlos Santana's multiplatinum 1970 cover version, close to three decades after Cachao first played it.
I do appreciate the '80s as an era, the general sounds and aesthetics of the era. The Cure, that whole kind of image is really kind of amazing, I think. The power ballads and how everything sparkles and words are really dramatic. Huge drums, things like that. I do really find it inspiring.
I trained with a guy named Tito Gobbi, who was the Marlon Brando of the opera world. Tito Gobbi was the greatest singing baritone in the opera world and I studied in Florence, Firenze, with him. That was my first love, as it was Frank Sinatra's, oddly enough.
Moreover, it is clear that the era of the information bomb, the era of aerial warfare, the era of the RMA and global surveillance is also the era of the integral accident.
I was inspired to play electric guitar from listening to a lot of Carlos Santana, Stevie Ray Vaughan, and B.B. King, and that's always been the kind of music that I gravitate toward.
We have lived through the era when happiness was a warm puppy, and the era when happiness was a dry martini, and now we have come to the era when happiness is 'knowing what your uterus looks like'.
I'm kind of like a relic from another era.
I'm never gonna be a Carlos Santana - an instrumentalist. I just like songs. It's three minutes of something that can be very powerful.
With 'Bright Star' and with 'The Piano,' too, I felt a kind of sadness about it being in such a different era, because of my lack of experience with the era. And one of the ways I'd get over it is to remind myself that every film, even if it's contemporary, creates its own world.
I feel like my era was an era in which guys learned their trade the old school way.
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