A Quote by Isabel Allende
We have all the technology to record things in the streets. Now the historians cannot twist it or change it, because we have cellular phones or video cameras, and we are filming in the streets what's going on. We have the voices of everybody recorded. There's too much recording and I think that's wonderful.
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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.
I wasn't really into music. I was into the streets. I was too worried about the streets and how I was going to eat and how I was going to make the streets happen.
I was really from the streets, and I really did hustle in a major way. When I got my record deal, I left the streets alone as far as hustling. I never, ever hustled again. I said, 'I'm gonna change my life, I'm going legit. This is where I'm at.'
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.'
I don't think about returning to the streets, 'cause I don't have any plans to return to the streets. I'm at another level in my life. Returning to the street - I still be in my streets when I get time to, when it's necessary.
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.
My mom and dad are from the streets. My mom's from Chicago. My dad's from Memphis. My dad got out of school and got with my mom. They were hustlers. They were from the streets. They were doing their thing. The streets ain't got no love for the streets. You can light up the streets, or be a victim of the streets.
I was free always. I could work without the money, to film this and that. But this is another point, because now I'm alone, and I can just use it when I want. I think the digital cameras have changed my view. Even though sometimes, including the installations that I show, I mix 35mm filming and video handmade.
I wasn't from the streets, but I was in the streets. I had a good family, nice home - you know, I can't say I grew up with nothing... but I chose to hang in the streets.
I think technology is us, not something we invented. I think we are more psychic now because we have cell phones and you can look and see who's calling you. When people start seeing technology as us, as humanity, our whole idea of what existence is, is going to shift.
If you say, 'I'm going to cut this song because I know the teenagers are going to love it,' well, then you're going to alienate everybody else. When I cut my record, I'm just going to cut the things that I like, and whoever likes it, likes it. That's too much work to try to figure out the demographic. That's too much like a business.
They all come from the street - tap, jazz and flamenco. And the streets are always changing. If it comes from the streets, change is the only thing that's consistent.
Mama tried to save us from the streets, but the streets were too strong.
Economists tend to think they are much, much smarter than historians, than everybody. And this is a bit too much because at the end of the day, we don't know very much in economics.
I think when people say 'real hip-hop,' they want it more buried in the streets. They want it more connected to the streets and the grime and the roughness of the streets. They don't want the fluff.
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