A Quote by Chevy Chase

It wasn't as if I was simply some guy who had never seen the other side of the tracks. — © Chevy Chase
It wasn't as if I was simply some guy who had never seen the other side of the tracks.
The chances are you've never seen the other side of me. You've seen the event side of me when I'm on stage. But there is another side of me. If you evoke that side, you won't like it. It's a nasty side. You don't want to see that side. You're not missing anything by not seeing it.
I started here in Australia, playing a lot of roles but never the lead guy in shows here. I always tended to play the rougher guy, the criminal who gets caught or shot by the cops. Or the boyfriend from the wrong side of the tracks.
Growing up I always felt like I was living on the other side of the tracks. I knew the people on the other side had more resources, more money, happier families.
I am from a middle-class family, and everything I have achieved in life I have only appreciated. I have never gone overboard because I have seen the other side of life. When you have seen the other side of life, you appreciate what you have.
At some point you have to take responsibility for who you are and where you are and being able to listen to other points of view, whichever side of the tracks you're on.
There's always a side of a woman that likes a man from the other side of the tracks.
There's always a side of a woman that likes a man from the other side of the tracks
I grew up in poverty on the edge of a golf course. I saw how people lived on the other side of the tracks, the upper crust and the WASPs at the country club. We had chickens and pigs in our yards. We butchered every year. I'll never forget those things.
I didn't mean for it to cause such a furor, but I was the first guy to ever do the national anthem with a guitar. Everyone else had the big brass band. Nowadays it's tracks that they sing to, but in my day, we had no tracks. And I was the only orchestra that I knew that was the best orchestra and that was me and my guitar.
I have never seen anyone at CNN ever say, 'Boy, here's how we're going to deal with this today to put this guy down and elevate this guy up.' I've never seen it.
If I see a black kid in a hoodie and it's late at night, I'm walking to the other side of the street. And if on that side of the street, there's a guy that has tattoos all over his face, white guy, bald head, tattoos everywhere, I'm walking back to the other side of the street, and the list goes on of stereotypes that we all live up to and are fearful of.
For AERO, I wanted to revisit in 5.1 some existing tracks in order to give them that space I had imagined when I originally composed them, and also to compose some new tracks for this new technology. All of the existing tracks in AERO have been performed with the original instruments, re-recorded and spatially arranged/spatialised for this new dimensional sound experience without betraying their very essence.
If you belong to an in-group of good, or saved, or elite people, you can only know that you’re in because someone else is out. You cannot live on the right side of the tracks without there being a wrong side of the tracks, so you ought to be grateful to the outside for having the privilege of being on the inside.
One of my great mistakes coming up, since I was a kid from wrong side of the tracks, and fearful that I might be seen as wanting leadership-wise, was to be someone I was not.
In Smooth Talk it was a much more intuitive search - I was only 17 at the time, and I wasn't aware, as women are when they get a little older, that there's always a side of a woman that likes a man from the other side of the tracks. We all have an attraction to what's different from us.
I had never had a positive leading character - somebody that wasn't an antihero, or who wasn't more of a guy that you're supposed to be on the side of.
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