A Quote by Tracey Ullman
I grew up with Jilly and Tamsin driving Volvos. But I wasn't one of them... I always felt more comfortable with Cockney and working-class people. My heroes were the Beatles and people like Michael Caine.
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It just annoyed me that people got so into the Beatles. "Beatles, Beatles, Beatles." It's not that I don't like talking about them. I've never stopped talking about them. It's "Beatles this, Beatles that, Beatles, Beatles, Beatles, Beatles." Then in the end, it's like "Oh, sod off with the Beatles," you know?
So to compare the Beatles, obviously the Beatles are the Beatles, but in hip-hop terms, Tribe is the Beatles. Grandmaster Flash and the Furious Five are the Beatles. Big Daddy Kane is Jimi Hendrix. It means that much to people that grew up with it.
I grew up on the south side of Chicago in a working class community. There were no miracles in my life, there's nothing miraculous about how I grew up, and I want people to know when they look at me, to be clear that they see what an investment in public education can look like.
I've always felt like a lot of people's misconceptions of me have to do with how I grew up. I grew up poor, and I grew up rich.
My heroes - people like Woody Allen - were stand-up comedians. Therefore, I always felt I should give it a go.
Woodfall wasn't deliberately telling working-class stories, but John Osborne and other writers who were involved with them were writing those stories, which had never really been written before. The working-class person always had to have an accent before, was often a joker, and peripheral. At Woodfall, they were driving the film.
I mean, I've always felt like a lot of people's misconceptions of me have to do with how I grew up. I grew up poor, and I grew up rich. I think some people who have never met me have a misconception that when I was living with my father when he was successful, that I was somehow adversely affected by his success or the money he had and was making at the time.
I grew up as a dancer, and music and dance are so closely tied that in ballet class, you're listening to all this classical music, and in modern class, you're working with a live drummer. It was something that always made me feel really comfortable, and I've had a connection to since the beginning.
I grew up as a dancer, and music and dance are so closely tied, that in ballet class you're listening to all this classical music, and in modern class you're working with a live drummer. It was something that always made me feel really comfortable and I've had a connection to since the beginning.
I think anything we do outside of Gym Class Heroes still falls under the Gym Class Heroes umbrella. There's really no method to the madness. With Gym Class, it's more of a democratic process, and when I'm working on solo stuff, it's just me, either working with producers or sitting in a room by myself. They balance and complement each other.
I grew up looking at the Grammys. It was a childhood infatuation with these people walking around with gold statues. I felt like they were the best, and that's why I started working so hard.
Working class communities, like the one I grew up in, have long felt the disproportionate and cumulative impacts of pollution.
I think that I represent people that sometimes don't have a voice because of how they grew up or where they grew up or the options that were given to them. I was able to kick my way out of that, but we have a real class problem in this country, where it's hard to jump classes.
When I lived in Chicago, it often felt like the same people who were going to all the little theater companies were the people who were working in them.
I grew up in the suburbs, a calm suburb, without tension, with working-class and middle-class people mixed together.
Somebody approached me about working with Michael Jackson, and I did say no because I like working with new artists or people that I've worked with in the past. I can develop them from the ground up. There's no set standard that I have to live up to or anything like that.
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