A Quote by Chamillionaire

The streets and the industry are two different things. You could be one super-hot artist in the streets, and you could walk into a corporate building, and people would be like, "Who are you?"
You could walk the streets, no matter how hungry people were, not matter how long they'd been out of jobs, you could walk the streets, you could ride the subways in New York, and you would not get knocked in the head.
You could walk the streets, no matter how hungry people were, not matter how long theyd been out of jobs, you could walk the streets, you could ride the subways in New York, and you would not get knocked in the head.
I tried to be like the richer kids as much as I could because I wanted to live on their streets, at least hang out on their streets and eat their amazing food and walk barefoot on their shag carpets. I became something of a pest in that way, and in general, other people's parents didn't like me.
One of the things that sells music is when the artist is looked at as someone who's come up from the streets. Not just any streets, but the toughest, meanest streets of the urban ghetto. And that's called 'street credibility'.
One of the things that sells music is when the artist is looked at as someone who's come up from the streets. Not just any streets, but the toughest, meanest streets of the urban ghetto. And that's called 'street credibility.'
It was a proud moment in giving me the confidence, that I was 'stamped' in the offices as much, you know, as I would get from the streets. To where it's like I'm getting the love from the streets and from the people in the building - and that's kinda dope.
My childhood is streets upon streets upon streets upon streets. Streets to define you and streets to confine you, with no sign of motorway, freeway or highway.
Buckley and Vidal were both stand-ins for what was happening on the streets of Chicago and the streets of America. I mean, they're representing these two different camps that are at war in the streets. And they're at war with their words. And each was looking for a knockout.
I was interested in theatre and media and came to Mumbai to get a job. I imagined that the film industry would be a white building with producers sitting in different rooms, and you could walk in and meet them, and they would interview you and select you.
Even on the poorest streets people could be heard laughing. Some of these streets were completely dark, like black holes, and the laughter that came from who knows where was the only sign, the only beacon that kept residents and strangers from getting lost.
I love cycling, but if I could find a way of building something above the streets for cyclists, that would be amazing. We need even more space.
THE HOT (AND SERIOUSLY COOL) ENERGY that comes from the musical gospel preached by the title character of FELA! feels as if it could stretch easily to the borders of Manhattan and then across a river or two. There should be dancing in the streets!
What I wanted to do was to look at the powerlessness that I felt as - and continue to feel at times - as a black man in the American streets. I know what it feels like to walk through the streets, knowing what it is to be in this body and how certain people respond to that body.
New York reminds me of what my career was like when I lived here, so when I walk through the streets, I remember when I had ten bucks in my pocket and all I could eat is Chipotle.
We are a feelingless people. If we could really feel, the pain would be so great that we would stop all the suffering. If we could feel that one person every six seconds dies of starvation ... we would stop it. ... If we could really feel it in the bowels, the groin, in the throat, in the breast, we would go into the streets and stop the war, stop slavery, stop the prisons, stop the killing, stop destruction.
I think that hip-hop is more of an individual effort. That means you're an artist from the streets, they expect you to rap about the streets, because that's what happens there.
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