Working Class Culture Quotes

I make films about working class people. All my films have always been about that. For example, the brothel is a workplace. It's aberrant, but a workplace nonetheless. I was more interested as opposed to glamorizing and saying, oh, this is a great erotic place, it's a place of business. The commodity is sex.

A working class hero is something to be.

My father was a guy most comfortable in the company of bricklayers and carpenters and electricians. And I have a lot of that in me also. I love those people.

My childhood was as heavily gendered as any you would find in a working-class household in Lincolnshire.

The policies of the Democratic Party have always been in cultural consonance with the culture of the working class. And, somehow, they missed that.

I find industrial cities exciting. I like their toughness.

I love the working class, and everyone from it that I've met, and think they're incredible witty, inventive - there's a lot of poetry there. A lot of rough stuff as well. What there is, too, is an awful lot of expressiveness and intelligence and originality down there. And a lot of thwarted intelligence.

I grew up among heroes who went down the pit, who played rugby, told stories, sang songs of war.

As a kid, I was school swot, but I used to hang around the billiard halls, learning that Geordie sense of humour, mixing with low-lifes. They were the sort who'd pick your pocket and then say 'Here you are lad, here's tuppence, get yourself some chips'. I was a good rugby player, a good runner, so I fitted in at Cambridge quite easily.

I am a gay man who loves James Bond films and snooker - all kinds of working-class pursuits.

In the 1990s, from the estates of Scotland came the phenomenon of Irvine Welsh. 'Trainspotting' demanded its place not only in the high ranks of contemporary fiction but as a describer of a Britain that literally and metaphorically was in a deep mess.

I think I was maybe a ned. I don't know. I had a trakkie, a cap and got into trouble when I was younger and I don't remember other neds round about me, so I suppose I must have been one. But a thinking ned, an intelligent ned.

'Up the Junction' went on to inform my love of British social realism. It was the first film I saw of this ilk, a very stark, visceral reflection of England, an England I didn't necessarily feel a part of but that I knew was out there. You could almost smell the bread and butter and cabbage.

People are very proud of Newcastle, very proud to come from here. This is a working class City and they just want to enjoy themselves and live life to the full. They work all week, pick their wages up at the end of the week and they spend it over a weekend by having a good time and watching the football. That's our life.

Real popular culture is folk art - coalminers' songs and so forth.

Surely the writer is to address a world of laborers, and such therefore must be his own discipline.

Working-class families in the north of England used to hear the 1611 Bible regularly at church and at home ... for us, the language didn't seem too difficult. I especially liked 'the quick and the dead' - you really get a feel for the difference if you live in a house with mice and a mousetrap.

I remember telling people I booked this job; they were like, 'What is it called?' I was like, 'Peaky Blinders,' and they were like, 'What?' It sounds ridiculous, but I like it because there's an instant intrigue about the name.

There's something about Detroit, man: there's a serious vibe there. It could be that blue-collar, working-class-mentality person who lives out there. There's just something about it. It reminds me of Alaska. Texas has the same thing. Detroit is a little heavier than both.

Las Vegas is a major family destination. Nevada casinos have become American family values now. It's considered just fine to go into one of these windowless scary gambling-malls, drink yourself silly, lose your ass at roulette, and then go ogle showgirls with breast implants. Republicans do this now. Working-class folks do it in polyester stretch pants. It's normal.

It was great being brought up in a Glasgow working-class tenement. It wasn't miserable, and it wasn't poverty stricken. It felt very safe, full of delights.

I'm a working class lad.

The song [The White Trash Song] was not a put down of [ my country cousins ], but a celebration. I wrote that early on, as a teenager.

I left Edinburgh to follow the London punk scene in 1978, singing and playing guitar in various bands. My income was sporadic, so I did anything to eke out some kind of subsistence - laying down slabs, working as a kitchen porter.

My childhood growing up in that part of Glasgow always sounds like some kind of sub-Catherine Cookson novel of earthy working-class immigrant life, which to some extent it was, but it wasn't really as colourful that.