A Quote by Ncuti Gatwa
I was a working-class kid in a middle-class environment. Fashion was my way of saying, 'You can tap me for this and tap me for that, but you can't deny I look good.'
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My brother became so enamored with that film [West Side Story], that he started taking tap-dancing lessons, and I followed him and started tap dancing, and my mother and father started tap dancing - I was in a class with my family, tap dancing!
Look, there is a sort of old view about class which is a very simplistic view that we have got the working class, the middle class and the upper class, I think it is more complicated than that.
I think the working-class part of me comes out. Sometimes the people who have the loudest mouths are upper-class, upper-middle-class. The quietest are often working-class people, people who are broke. There is a fear of losing whatever it is that you have. I come from that background.
I felt like the luckiest kid in the world. And I was. I was growing up middle-class in a time when growing up middle-class in America meant there would be jobs for my parents, good schools for me to prepare myself for a career, and, if I worked hard and played by the rules, a chance for me to do anything I wanted.
The working class of England today have no vision of society beyond the acquisitive - no version of themselves or their habits as anything other than transitional, on their way up or on their way out. The working class, at best, is a waiting room for people who aim to become middle class if possible.
I was not from a middle-class family at all. I did not have middle-class possessions and what have you. But I had middle-class parents who gave me what was needed to survive in society.
I think there's a tendency in England, when you look at the past, to either have upper middle class period drama with its own rules, or if you're going to look at working class people, you have to do that in a particular 'Isn't it a shame, aren't they oppressed' way, or it's treated comically.
I grew up watching Gregory Hines banging out rhythms like drum beats, and Jimmy Slyde dancing these melodies, you know, bop-bah-be-do-bap, not just tap-tap-tap. Everyone else was dancing in monotone, but I could hear the hoofers in stereo, and they influenced me to have this musical approach towards tap.
I grew up in a working class neighborhood in Sweden, which, during my teens, gentrified and is now completely middle class and even upper middle class.
To most middle-class feminists, as to most middle-class non-feminists, working-class women remain mysterious creatures to be “reached out to” in some abstract way. No connection. No solidarity.
There is quite a lot of mutual misunderstanding between the upper middle class and the working class. Reviewing what's been said about the white working class and the Democrats, I realized that there's even a lot of disagreement about who the working class IS.
My upbringing was middle-class but my parents' families were both working-class so I had this odd combination of working-class background but in a privileged position.
We were working class, and you don't lose that. Later on, I bolted on media middle class... and now people like me are in the House of Lords.
I've got letters from all over the world saying what you're describing as American parenting is Chilean middle-class parenting, or it is Finnish middle-class parenting, or it is Slovak middle-class parenting.
One side of me is very busy paying attention to the details of life, the humanity of people, catching the street voices, the middle-class, upper-middle-class secret lives of Turks. The other side is interested in history and class and gender, trying to get all of society in a very realistic way.
There are people who take tap class, do a tap dance. And then there are people who know the dance, who know why they take tap classes. Who know why they do 20 shuffles, or 50 shuffles, before they go on.
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