Rachel McAdams Quotes

We danced on the lip of the volcano, so to speak. We were young, too. And New York was still a big, open city where anything could happen and anyone could be star. Rents were cheap, creativity was encouraged, and bottle service was still 20 years away. That was the era the Club Kids came into.

What's so wonderful about the street is it's organic music. No preservatives. There's no other reason to be out there except you just love music and want to play.

American Odyssey' will be an amazing adventure inside the musical walls of our cities. It's theater, and radio has always been great theater to me.

I'd stand on the side of the road when I was just a little girl singing on trash cans.

I used to be a street singer in San Francisco.

I just can't wait to continue creating music.

Actually, I started off playing by ear and being around a bunch of musicians playing in the streets in the different parades.

I learned to play the git-tar from an old colored man in the streets of Montgomery. He was named Tetot, and he played in a colored street band.

Making music is like shopping for me. Every song is like a new pair of shoes.

I love Milan, and I'm not just saying that. It's a city that gives me a great sense of euphoria. I can't explain why, but I feel a special energy there.

I'd stand on the side of the road when I was just a little girl singing on trash cans. People would roll down their windows saying, 'Isn't she cute'. I had a vivid imagination. I always pretended it was some big stage.

In a typical day, I would wake up about 8 A.M., pile all my stuff into my mom's minivan - my guitar, my amp, CDs to sell, a table and a rug - drive it down to the street, and unload it all. I'd wait until about 12, then play for two hours. You could only play in two-hour intervals, so then I would move it all somewhere else.

I was living in my van, playing on the street for almost two years.

Not really anything wrong with Memphis. New York is just more where I wanted to be.

When I went down to London in '67, I had three things in mind: To survive, to find peace of mind, and to make music doing it.

I miss Mumbai when I'm not here. The city does that to you, and it's exciting.

When foreign tourists come to Seoul, they will likely want to experience the city more. The city combines past, present and future landscapes that cannot be found elsewhere.

When I'm in L.A., I kind of go crazy in the middle of the night when it's, like, completely quiet.

It's really a rush and a thrill to feel you've been part of a body of music that's inspiring.

Playing with Iggy pulled me back in for a while and reminded me of what I love about music.

The truth is there's always a hum of people playing folk music in cities.

I'm not losing the wonder in playing music.

I like to adapt to each city. I like to come up with a concept for each space I do. The vibe in L.A. is a little sexier than New York, so the colors are a little different.

Ultimately it's a blessing to be able to make music.

Music was never an obligation for me; from a very young age, I understood it as a moment of freedom where you could express yourself. I realized how much joy it could bring and how much that meant to me.