Top 1200 Real Street Quotes & Sayings - Page 3

I lived on Fulton Street in an enormous studio - I needed a bicycle to get to the toilet, about half a mile between two streets - next to Wall Street.

My dad had a real big reputation as being the hard man, street fighter, the gangster. My stepdad was quite timid, and I wanted a bit of the gangster in my life.

When shopping was still connected to the street it was also an intensification and articulation of the street. Now it has become utterly independent - contained, controlled, surveyed.

The Romney candidacy is better than it was four years ago, but it's not clear that it's good. Mitt needs to get good real fast: A real speech, real plan, real responses, and real fire in the belly.

My actual statement during the campaign was I want to be the sheriff of Wall Street, Albany and Main Street. I'm going to go after crime and corruption, wherever it is.

If we're going to be an effective, efficient economy, we need to have all part of that engine running well, and that includes Wall Street and Main Street.

I was born in D.C. on 8th Street. I know what's up. I know what time it is. I used to hang out in Brooklyn and in the Bronx as a teenager. I know what the real world is like.

I do believe that we should substantially lower student debt in this country, which is crushing millions of people. We pay for it, in my view, by a tax on Wall Street speculation. The middle class bailed out Wall Street in their time of need. Now, it is Wall Street's time to help the middle class.

'The Means' is about power. I have access to political insiders who helped me write a portrait of the real day-to-day in politics, which turned out to be crazier than Wall Street.

I almost got kidnapped trying to find a taxi in the street. In Saudi Arabia, it's not normal for a woman to walk in the street alone, and I don't cover my face, so I am an open target.

In the movie 'Wall Street' I play Gordon Gekko, a greedy corporate executive who cheated to profit while innocent investors lost their savings. The movie was fiction, but the problem is real.

Kenny G is not real jazz. I don't even think Wynton Marsalis is real jazz. I don't think Harry Connick Jr. is real jazz. If there is such a thing as real jazz, The Lounge Lizards is real jazz, Henry Threadgill is real jazz, Bill Frisell is real jazz, you know?

I like to write about real people, real crimes. But what has increasingly come to interest me, and also appear to me as a challenge, is the idea of doing strange things with what is real. Take what is real and make it more or less real.

With WesTrac, you have real people doing real jobs with real problems and real opportunities, and you touch the metal, and it's like being grounded.

No offense to Bushwick, where all my neighbors greeted me on the street and there is a growing arts community and a curious beauty to its industrial zone, but Bushwick is no Williamsburg, even if the real estate agents would have you believe it is.

Fame is like getting across the street. It's like, if there's nothing to be across the street for, it's a pointless destination. It's like, "I gotta get across the street, man! I gotta be there! I gotta be there!" Then you get across the street and you're like, "Yeah I'm here!" And then, that's it. Fame doesn't make you particularly happy.

If I see a black kid in a hoodie and it's late at night, I'm walking to the other side of the street. And if on that side of the street, there's a guy that has tattoos all over his face, white guy, bald head, tattoos everywhere, I'm walking back to the other side of the street, and the list goes on of stereotypes that we all live up to and are fearful of.

I never left my street until I was 16 years old. I didn't have to. I was entertained on that street forever. We were outside all day. The only reason to go inside was to sleep and eat.

I made contours and all that, but in real life, you have to be very careful with that because you can go out in the street and look terrible. All those girls who show how to do contour, they do it quite well, but they're like makeup artists. They're in artificial light.

Everything I do is going to be gangsta rap, street based, street oriented... I'm from Gary, Indiana, and everybody's damn near at the poverty level.

I've got four houses in my street. I live in two, and the others are empty. I'll buy more as they come up, because I think it would be great to have the entire street.

I played a lot at the school across the street from my house. That's how I started, really. Playing street basketball and challenging the guys out on the court who were older than me.

Honest, open communication is the only street that leads us into the real world... We then begin to grow as never before. And once we are on this road, happiness cannot be far away.

Same way we have enough money to bail out Wall Street, we need to put a down payment on Main Street.

I'm actually a lowlife. On the street at fifteen and also in jail for the first time at that age, and off and on the street until my mid-twenties.

I grew up in a slum neighborhood - rows of tenements, with stoops, and kids all over the street. It was a real neighborhood - we played kick-the-can and ring-a-levio.

Trump has the courage to stand up to Wall Street, to the K Street lobbyists, and say our trade deals have not been best for the ordinary, average citizen American.

Mubarak would meet with me when I was at Central Command. He would lean and put his hand on my knee, as if a father figure, and say, 'General, don't ever forget the Arab Street. Listen to the Arab Street.' I'd like to go to him now and say, 'Mr. President, what about that Arab Street, what's that all about?'

Play is always a fantasy, but once you get into the frame, it is quite real, and everything you do is real. You put acres and acres of real movement and real action and real belief in it.

The real world is the fantasy writer's scrapbook. Real history, real geography, real customs and religions are all invaluable sources of guidance and inspiration.

It was supposed to be in the second street project for Main Street. But who knows? Maybe it will be built one of these days. We never throw away any idea.

Everywhere I go - from Main Street to Wall Street - people ask, 'What's happened to our political system? Why can't Washington folks work together?'

Los Angeles is Hollywood and Hollywood is Hollywood Blvd. It's the first thing you want to see. It's the only thing really that you know about as far as Los Angeles is concerned. And so you go and you look at Joan Crawford's hands and feet and the whole history of American filmmaking is encapsulated in that one little area on that one street. That street, to me, has always been the street of dream.

We spent most of our life almost like street rats just running around the street until we were ten years old.

I played street basketball for a while and wanted to play competitively, but I was so used to the street-style of game that I would have fouled out by the end of the first quarter.

But after that you don't see a lot of real good fundamental play. You see a showboat-type basketball which is almost parallel to street basketball.

In daily or everyday life, I am so impressed with tiny details, like when I look up at a street lamp falling on the street, it seems to have meaning or so much information in it.

Most of us, myself included, have forgotten what real darkness is like. We live in a world where light is inescapable. It comes from street lamps, headlights, security floodlights, and even the faint glow of our alarm clocks.

I live on the same street as my family, actually. I live across the road. I'm a real family person!

Human beings don't show, any more than cities at dusk, their real necessities! And yet if you looked -- past the circle of outside lights, through the street walls still standing -- into the want and emptiness within!

I think the money for the solutions for global poverty is on Wall Street. Wall Street allocates capital. And we need to get capital to the ideas that are successful, whether it's microfinance, whether it's through financial literacy programs, Wall Street can be the engine that makes capital get to the people who need it.

This had been real: real in its flaws and uncertainties, real in its small triumphs, real in its compromises and understanding.

I really turned into, you know, the real street kid. I was kind of like a runaway, but I had a mother, you know what I mean, and I had a place to stay.

The accent in England can change literally from street to street, and people have this sort of feudal tribalism whereby you can identify somebody's provenance by their voice.

I just want to put my stamp on all kinds of music. Everything I do is going to be gangsta rap, street-based, street-oriented.

The dirty little secret, folks, is Obama is not only for occupying Wall Street. He also wants to occupy Main Street.

The City of London and Wall Street are not going to be great places to be in the next two or three decades. It's going to be the people who produce real goods in charge – the farmers and the miners.

When I moved to the East Village in the late seventies, I wanted to be a street performer, so I practiced daily. I never did work up the skills or the courage to perform on the street, though.

If beef is your idea of 'real food for real people', you'd better live real close to a real good hospital.

I'm an animal. I'm an animal in real-life and an animal onstage. I never became a recluse, I never lived up in the Hills where I didn't see real life. You know what I mean? I'm not still living in Brooklyn, but I'm still living in the street. I go out by myself, I don't go out with a million body guards, I run my own errands.

If beef is your idea of 'real food for real people,' you'd better live real close to a real good hospital.

I am a hopeless romantic. A silly, ridiculous, foolish romantic. I live in a fantasy land. I need to get real. And now, for the first time, I want to get real. I want a real relationship with a real man in the real world–-with all the real problems, faults, and whatever comes with it.

I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.

If this is a war, my side has the nuclear bomb. We have K Street. We have Wall Street. Debbie doesn't have anybody. I want a government that is responsive to the people who got the short straw in life.

Wall Street can be a dangerous place for investors. You have no choice but to do business there, but you must always be on your guard. The standard behavior of Wall Streeters is to pursue maximization of self-interest; the orientation is usually short term. This must be acknowledged, accepted, and dealt with. If you transact business with Wall Street with these caveats in mind, you can prosper. If you depend on Wall Street to help you, investment success may remain elusive.

Did I run real swindles? Oh, yeah. I mean, I started as a - on the street. I did not begin as a performer. I began running the shell game.

For me, if I was walking down the street and saw a politician, I'd cross the street and walk the other way intentionally, just to not have to talk to them.

My life is good because I am not passive about it. I invest in what is real. Like real people, to do real things, for the real me.

I like the connection with fans and people who have been supportive of me. And I love the idea of real feedback and a two-way street, which is very, very modern.

As an actor, whatever I get the opportunity to do, if it has a good story then I'm in. I thought 'Dead End' had a great story; 'Nightmare on Elm Street,' of course, was probably the first real horror film I was in.