A Quote by George Thorogood
There are now grandmothers and grandfathers coming to see us because they are of that age, they grew up in the '50s and '60s and they bring their sons and their daughters to hear the songs they heard when they were young.
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The people whom the sons and daughters find it hardest to understand are the fathers and mothers, but young people can get on very well with the grandfathers and grandmothers.
I wake up every morning in a house that was built by slaves, and I watch my daughters - two beautiful, intelligent black young women - playing with their dogs on the White House lawn. And because of Hillary Clinton, my daughters, and all our sons and daughters, now take for granted that a woman can be president of the United States.
When I was growing up in the 50s it wasn't quite the same. Fathers were more protective and now they see all of the possibilities for their daughters.
I think fathers, mothers, grandfathers, grandmothers - we should look at what young people are saying to us.
I have absolutely no problem with the young Germans. I even feel sorry for the young Germans because to be maybe sons or daughters of killers is different than them to be sons and daughters of the victims. And I felt sorry for them. I still do.
I was born in the '50s - 1951. So I grew up during that part of the '50s when everything was supposed to be at its best in America, they claimed, and then eased into the '60s.
When I grew up in the '60s, we were actually dominated by this, you know, sort of conforming '50s culture, even though we were like trying to express our own culture, like, the dominant culture was the thing that was forming us. And I think that that's true today.
When I was growing up, my mother used to say, 'Don't ever bring no nappy-head Black girl to my house.' In the deep South in the '50s, '60s and '70s, the shade of your Blackness was considered important. So I, unfortunately, grew up hearing that message.
I think Hollywood has gone in a disastrous path. It's terrible. The years of cinema that were great were the '30s, '40s, not so much the '50s...but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the '50s and '60s and '70s.
In Europe, I do see a lot of women who were fans years ago bring their daughters and sons to shows and that's how my music gets passed down, and I love that.
I wanted to create clothes for women in their 40s and 50s and 60s who have careers and are sexy and don't want to look like grandmothers.
I wanted to create clothes for women in their 40s and 50s and 60s who have careers and are sexy and dont want to look like grandmothers.
I used to write songs that mimicked other songs that I would hear as a kid, cos I was 12 years old when I was writing those, right. And you hear a radio so all I'd write about was [sings] "hey girl, look at you", you know what I mean. I think that even doing that made it easier for me to write non-personal songs because, from a kid, I never wrote personal songs, they were always like mimicking. And now I'm just trying to understand my writing and where it's coming from.
The real reason we ended up getting into that type of music was our dad worked for an oil company so we spent a year overseas when we were young kids. Because of that, it was all Spanish TV and radio so we ended up having these '50s and '60s tapes, tapes of that music.
When I was growing up in the '50s, I had never heard of a "woman film director," so I did not consider it as an option. But I was fortunate that in the late-'60s and '70s, because of the feminist movement, women were stepping into all sorts of careers that had been closed to them in the past and film was one of them.
When I see a lot of young faces in the audience, it's just sort of sinking in how important that is. Because you're old enough now to identify them very strongly as being young - whereas before, of course they were young, because you were young. Now it's not like that.
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