Quotes About Underground

It is important that carbon storage is carefully regulated, that the process is transparent to the public, and that there is a clear accounting of what happened to the CO2. This is particularly true of underground storage, where there is always a small chance that pressurized CO2 could escape.

I've got all of the old school vinyls from the '70s - even further back, like the jazz music in the '40s, '50s, '60s. Then I've got all the '80s stuff underground, hip-hop when hip-hop really first started. The '90s stuff. All of the good stuff, because I'm really into music, and it helps me create new songs now.

Because we spent so much time in the States in the beginning, we weren't able to do so much in England. It was slower catching up. And we didn't have radio here like what was called underground radio over there. So we got these little slots on the BBC.

I don't think there will ever be another company that has what Lucha Underground has. It's very unique, exciting, and fresh - this is really something new.

I went back to DJ'ing in 1987, and it's been an incredible second career for me. Plus, it's almost a parallel universe. If you don't go to underground clubs, you wouldn't know what I do or who I am. So there's been a whole new audience of people that don't even know I'm that 'Boy George', the one their mother used to like.

Underground, raw movies that come out of nowhere and change everything - they aren't slick-looking. But I have nothing against slick-looking as long as the scripts are funny.

I went to underground music studios. In the studios, I learned that you can make a movie without a permit.

It would be awesome to stay popular, but if I was only an underground artist, I would be okay with that.

In my 20s, when I was a photojournalist in Beijing. I joined an underground art group and put on clandestine exhibitions of my paintings.

A typical day in the Senate requires several trips to the Senate floor and back, although the journey is usually underground so that on some days, once I arrive at work, I never see the sun.

The naked mole is, like, the ugliest freakin' creature in the world. It is so radically, unbelievably disgusting. And the star-nosed mole is also. It looks like it snorted a firecracker. They live way underground, and to get footage of them is basically impossible.

The cool thing about 'Sweet Tooth' is that you can bring influences from the underground and alternative people that I read and also bring in some genre influences, too, from movies and comics. And kind of mash it all up. It's a fun project.

I think of myself as an underground name. Quite a cult comic.

Underground people pay a desperate toll finding out things nobody else has discovered yet. We run around like headless chickens looking for the next cultural fix to spiral around in before it gets appropriated somewhere else and becomes something it never was. There's this sort of one-upmanship in the underground.

Like in every peace process, and especially in Colombia, there all kinds of problems that will come through. Not only is the process by itself very complicated but it has lots of underground complications.

There's this whole underground world of amateur television production.

I have a tremendous support from a lot of the Underground fans. They believe in me, they want to see me do well, and they're behind me. But there are a lot of people out there who don't believe it, and so I want to separate perception and reality. I want to be able to do that.

There's always going to be a fight between mainstream and underground because the mainstream is a very small bubble, and the underground scene is a very small bubble, and they both see themselves as secret societies. But I never saw it that way. I always thought music was open to all things.

I was an underground artist, but the underground status was successful. Coming from where I came from to see where rap is now, now artists are selling from a million to eight million copies.

Even before the mainstream knew about P.O.D., we were going for several years underground. For me, those were the times where it really was about the music and really about the fan base.

I went from the most underground band in the world to signing with Madonna's producer and a record label that is extremely mainstream - it was interesting.

I remember when I started performing, I thought, 'Why is this something that we do after hours, underground?' I was waiting on the world to change and the idea of this art to become mainstream, and I think that's what 'RuPaul's Drag Race' has really accomplished in such an eloquent way.

Imogen Poots loves music to death and can literally name 300 bands that she listens to, that you've never heard. She's so heavy into the underground music scene. When she's speaking on music, she means it.

The underground always has the best ideas. Sometimes those underground artists transcend and make it to the mainstream, but most of the time, the big guys just steal from us.