Top 230 Underground Quotes

When we came along in 1982, music was getting boring – like 1976 when punk hadn’t happened. We wanted to be rock ‘n’ roll. We grew up with The Velvet Underground, the Stones and Mars bars and Marianne Faithfull and we knew we didn’t want to be boring – and we weren’t!

Oh, I’m a huge fan of ‘Lucha Underground.’

Of course, I started really being a comics fan with the underground stuff in the ’70s.

When I first got involved in the underground metal scene in ’82, ’83, there were only about five or six major Death or Black Metal bands around. There were so many other bands that were inspirational, that really helped.

If you asked me to sing a modern song, I wouldn’t be able to – I can’t easily slip into that groove. But if it were a song by Nico or The Velvet Underground, fine.

Couples without kids have each other, their friends, families, and Siri to talk to. It’s not like they’re quarantining themselves in an underground bunker, never to take a romantic stroll on the beach or attend a Morrissey concert ever again. They’re just using birth control.

There will always be an underground.

On some summer days in New York City, the air hangs thickly visible, like the combined exhalations of eight million souls. Steam rising from vents underground makes you wonder if there isn’t one giant sweat gland lodged beneath the city.

The sum total of what I learned about African American culture in school was Martin Luther King Jr., Rosa Parks, and the Underground Railroad. This was more than my mom knew; she didn’t even see a black person in real life until she was 18 years old.

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

I feel that in the underground world, there’s not enough vocals out there.

Who can forget that in critical times of war in 1962, 1965 and 1971, Naga underground organisations did not fire on the Indian Army? They showed restraint.

When you come to my show, it’s like a no-holds-barred, underground Royal Rumble.

Encouraging underground uranium mining on the Colorado Plateau um, the federal government was the only purchaser of uranium ore to try to manufacture uh, atomic bombs.

A lot of artists get famous overseas first. I don’t know what it is here. I have a large underground following in the U.S., but I don’t get the airplay as much as I do in, say, Australia. Over there, they can play whatever they like, it seems, but not so much here.

I had three older sisters whose record collections I borrowed, so I was listening to The Velvet Underground as well as Bach and brass band music.

A friend of mine had this great theory about the Teletubbies, that it’s preparing us for being mindless. And getting us ready for living in an underground world. That’s why the scenery is so flat.

Before the Civil War, Canada was at the top of the underground railroad. If you made it into Canada, you were safe unless someone came and hauled you back. That was also true during the Vietnam War for draft resisters.

I don’t have a nickname. But, hey, they can call me what they want – The Silent Assassin, The Underground King. In Japan, they call me American Knuckle Star. Call me what you want.

A lot of the surreal filmmakers, like David Lynch, Alejandro Jodorowsky, or countless other underground filmmakers… Their sense of explosive images have always dominated their films. It’s a way to shock the senses, to make them open themselves.

I come from the underground, from the ground.

As big as Metallica are, they’re still not like a pop act. As big as they are, they’re still not U2 or Lady Gaga. It’s still underground.

We shot ‘Delusion’ in the middle of the desert and outside of Las Vegas where they did those underground nuclear bomb testings. So I only ate oysters and drank coffee because I didn’t want to turn into a mutant.

Underground literature only began in the ’70s, when technical developments made it possible. Before that, we were involved in a game with the censors. That was our struggle.

My musical roots and inspiration lie not in rock n’ roll or metal music, but first and foremost in classical music, balalaika, and in underground house music.

We don’t really want to be the ‘Late Night’ of the Internet. We want to have one foot in the mainstream, one foot in the underground.

I don’t know anybody who does what I do. I’m very underground.

We used to play the underground clubs like the UFO, and Middle Earth, and they were great because they would have on things like a poet, string quartets, and then a rock band! It was kinda cool!

‘Lucha Underground’ is the evolution of wrestling. It’s high-style, high-flying, fast-paced hybrid style wrestling, and we’re actually paying homage to lucha libre for the first time.

Snakes are a very real thing in Egyptian tombs, they like to hang out underground.

I hate that people have made the term SoundCloud rapper into a bad thing, because a lot of artists are underground and they don’t have a way to put their music on. But to get that clout, to get that popularity, you might want to upload your music to SoundCloud – because how else is everybody going to hear it?

There’s a certain type of success you can have where it means nothing. You’re just becoming someone in Hello! magazine and no one knows what you actually do any more… the only way to escape that is to go back underground.

When I turned to writing fantasy, and writing for young people, it was joyous. It was like discovering an underground lake of ideas that went on forever.

I’ve had some really, really wild fun nights in Vegas. I ended up on stage once with this band, The Digital Underground, doing the Humpty Dance.

I went to an art school in Brooklyn and painted Fine Art, if that’s what you’d call it for eight years in New York, until I saw the first underground comics in the East Village Other.

The story of the Underground Railroad is the story of American heroes, and who doesn’t want to hear a story about American heroes?

We been bubblin’ in the Los Angeles underground for years.

In the public sector, there are a million people in the health service. There ought to be a couple of dozen or more on the Labour side, who learned their trade in different parts of the health service, and the public sector, and local government. And bus drivers, and people on the Underground.

I mean Iggy and The Stooges first couple of albums I think sold twenty five thousand between the two of them you know and so to talk in terms of an underground I mean you have to go really to the independent labels and things like that.

I was in the underground until I left Germany.

Rotgut was, to me, just this way to get into the underground of Manhattan where you have these little pockets a villain could rise from; a rot in the bowels of Manhattan. It led to these stories that were just very creepy.

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

The Florida peninsula is, in fact, an emerging plateau, honeycombed with voids and vents, caves and underground waterways. Travelers on Interstate Highway I-75 have no idea that, beneath them, are cave labyrinths still being mapped by speleologists – ‘cavers,’ they prefer to be called.

When I was eight, nine years of age, my mother bought me a pair of green trousers – corduroy green trousers. I didn’t like green, and I basically buried them underground. And my mother kept asking me, ‘Where are your trousers?’ I said, ‘Oh, I don’t know.’ And from then on I stopped wearing green.

Electroclash is good because it’s stayed underground.

I just try to keep myself a traditionalist. I liked being an underground comic doing my thing. I want to maintain that. I just do.

You don’t make this kind of music expecting to have to do TV press and stuff like that. I don’t mind doing it, but it’s a fairly underground type of music. You do it for the love of the music more than being a star or anything.

With ‘Underground,’ we see that the wounds that we all, as a nation, inflicted upon our brothers and sisters during slavery have not been healed.

The Velvet Underground is probably the best band that’s ever existed, assuredly the best American one.

I’ve always been ahead of the curve when it came to trying new stuff in the underground scene.

Us comics guys tend to get really good at the things we draw a lot. I’m good at creepy old forests, Victorian houses, underground goblin cities, and beautiful but creepy fairies.

Like AEW, it kind of feels like they’re treating you like a professional athlete, and Lucha Underground is like a lot of TV production stuff. It felt like they treated you like a professional actor. The treatment was just above that for a wrestler.

At 18, I moved to L.A. with my heavy metal band Avant Garde, which was very much influenced by Metallica. At 19, I got a job at Tower Records, and everything started to change very quickly. I started listening to the Velvet Underground, Pixies, early Nirvana, Sonic Youth, and also earlier music like the Beatles.

I don’t have any hard feelings against anyone at Lucha Underground.

Using predictive models from engineering and public health, designers will plan safer, healthier cities that could allow us to survive natural disasters, pandemics, and even a radiation calamity that drives us underground.

In World War II, jazz absolutely was the music of freedom, and then in the Cold War, behind the Iron Curtain, same thing. It was all underground, but they needed the food of freedom that jazz offered.

All the people who were on WSX Season 1 are the life blood of the alternative wrestling business, and now the mainstream wrestling business as well. That is what Lucha Underground is doing.

I don’t write songs in order to stick it to my exes. I don’t release underground dis tracks.

I’ve made some leaps and bounds as an underground artist.

At the end of the ’90s and into 2000, electronic music was still an underground phenomenon, especially in America.

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.

What Public Enemy and Underground Resistance had in common was a rejection of the idea of music as entertainment.

During the Civil War, the Underground Railroad became a spy network, so we could still have fresh stories for these characters years into the future, with desperate people still doing desperate things.

I made the choice to go into the world of underground poker.

I think there’s so many amazing LGBTQ artists, ranging from commercial to underground, that are influencing people at large.

My favourite place in South Korea is Jeju Island: it’s a tropical paradise with sandy beaches, turquoise waters, and the magnificent Geomunoreum lava tube system of underground caves.

There’s a lot on my plate, but the cool thing is everything that I’m doing I’m really into. I love ‘Lucha Underground.’ I love Impact. I love wrestling every weekend all over the world.

Well, me and Freaky been knowing each other for a while, and he was always playing crazy music in his room, but he would never release it. He’s, like, the most underground rapper I know, and he’s crazy talented.

I’ve come to think of Dunnett as the literary equivalent of the Velvet Underground; Not many people bought the books, but everyone who did wrote a novel.

The thing I stress to my fans is that I’ve been making big, universally friendly-type music for a long time now. I never really made underground music.

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.

For the most part, metal has been underground. It’s too dangerous for mom and dad and schools. It will probably always be that way.

As a songwriter, oddly enough, my influences were people like Bob Dylan, The Velvet Underground, and Buddy Holly. Some psychedelic stuff, too.

The baby boomers’ politics have covered a wide band of silliness, from the Weather Underground to the Timothy McVeigh types. The great majority of us are well in the middle of that spectrum, but still, there’s been both leftie silliness and right-wing silliness.

‘Zone One’ has one kind of an apocalypse, and ‘The Underground Railroad’ another. In both cases, the narrators are animated by a hope in a better place of refuge – in the last surviving human outpost, Up North. Does it exist? They can only believe.

I have quite a bit of experience reporting on corporate behavior, both doing it with independent operations in early in my career, in the underground press, to magazines like ‘Rolling Stone,’ to regional newspapers and television, and television news programs, to papers like the ‘New York Times’ and public television.

Urban legend has it that Area 51 is connected by underground tunnels and trains to other secret facilities around the country.

Wrestling ultimately comes down to what happens when the bell rings, and it comes down to athleticism, storytelling, and characters – and what we’re doing in ‘Lucha Underground’ is the highest-quality wrestling out there.

The Underground Railroad, which was the first integrated civil rights movement, is a part of our history that not a lot of us know about. And it’s actually a very empowering side of our history.

If I’m gonna make a dancehall record, I’m gonna reference the best dancehall that I know – even if it might just be super underground, but I know it’s quality.

I do a cover of a Velvet Underground song, and they were one of the most important bands, for me.

Out of every 10 scripts I get sent, seven are fairly generic about an American guy who gets the girl and is involved in underground espionage activity.

I have traveled down this path before – ‘List of Seven’ and ‘Twin Peaks’ both have thematic similarities – but ‘Paladin’ took me much deeper into the intuitive underground. Always bearing in mind Joseph Campbell’s Rule No. 1: When entering a labyrinth, don’t forget your ball of twine.

I model a lot and I’m very fortunate and blessed to be able to do as many partnerships I do for an underground musician such as myself.

I was fortunate enough to be living in Hollywood, CA, when the underground punk rock music scene started. It was a small group of artists, misfits and weirdos, where everyone was welcomed and encouraged to express themselves.

I’m happy that grime remains underground. A lot of people talk like it’s some underrated or ignored genre, but to me, that’s the beauty of it.

The story of the Underground Railroad is a thriller. These are people who are basically in a heist movie, and it’s the most precious cargo ever, your life. You’re fighting for your freedom.

Born a slave, Harriet Tubman was determined not to remain one. She escaped from her owners in Maryland on the Underground Railroad in 1849 and then fearlessly returned thirteen times to help guide family members and others to freedom as the most famous conductor of the Underground Railroad.

The roster of ‘Lucha Underground’ would definitely be excited about a fifth season. Same thing with the producers and everybody.

I like underground rappers – Cory Gunz is a young kid that’s been really doing his thing. I’m a Gym Class Heroes type of fan even though they’re not new, but they’re definitely trendsetters.

Even though I accomplished the whole WWE thing, which I feel like was everybody’s dream when you were growing up, but it wasn’t until I got to Lucha Underground that I felt how I thought I’d feel at 10 years old to be a pro wrestler.

I’m not trying to be some kind of underground renegade.

Sweet Jane’ is my favorite song by Lou Reed the writer, at least the Velvet Underground Lou Reed.

It’s really a grand old, legendary theatre where the spirits of like Judy Garland and all these great performers have been. The clubs are way more underground.

Hopefully, when people watch ‘Lucha Underground’ and WWE, Ring of Honor, New Japan, AAA, and any other promotion out there, they fall in love with pro wrestling. Pro wrestling, as it affects pop culture, is bigger than any one promotion.

I listen to all kinds of music. I love underground, new music that’s popping.

The thing about hip-hop is that it’s from the underground, ideas from the underbelly, from people who have mostly been locked out, who have not been recognized.

In America, when you hear about the Underground Railroad, it’s so evocative. You think it’s a literal subway for a few minutes before your teacher goes on and describes where it actually was.

A lot of the surreal writing that I love is really dreamlike. Like Murakami. He uses the real world, and it’s pretty recognizable, but its populated by these strange visitors, or it has these underground spaces. I was always really compelled by that.

As far as being the guy and really the first guy with the reputation to sign on to be a part of ‘Lucha Underground,’ I take a great deal of pride in it.

Grime’s always been big at festivals. Grime’s always had an underground crew.

I got involved in the underground world known as ballroom culture, and I used to walk a category called ‘face,’ and it was a very heavily Latino culture – it’s black and Latino – and they used to call me ‘cara,’ which means face in Spanish, so I started putting ‘cara’ on everything: hats, jackets.

I love hip hop music and would do anything to help the culture blow up in China because it’s been so underground. I just want people know how good this culture is, how good the music is, and how it can change your life.

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.

Artists have so much more control of their futures – they don’t need to rely so much on major labels or big companies to help them. You have artists like Skrillex that can dominate so much that he gets 5 Grammy nominees, and he’s clearly an underground artist.

The song ‘Jumme ki Raat’ is a treat for all the fans of Salman. It is shot in the underground style on a very big scale. We have tried to give it the edgy and grungy feel.

It’s hard to imagine the whole punk movement without The Velvet Underground. I toured with them when they did their reunion tour, and no one sounds like that; they are a very unique-sounding band.

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.

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.

My dad would tell me stories about when he was an underground fighter. One day when I was 11, he told me he wished he had a son who could have been a real boxer.

I had a newspaper in Flint, Michigan called the ‘Flint Voice,’ and so it was a, you know, underground, alternative newspaper that I edited and put out for about ten years.

I’m interested to work with Lucha Underground and as champion that would put me in the mix to work with them.

I got caught up on drugs for a few years, I’m off it, I’m very happy, got two kids and a family and everything. And like I said I’m making the underground music, and keeping it real.

The first thing I learned was the ‘St Louis Blues’ when I was eight. Both my grandmothers, my mother and uncle played the piano. This was post-war Britain, and they played boogie woogie and blues, which was the underground music of the time.

I dominated the underground and then I dominated the overground, and I did that on my own.

I would hope to end my career here if it came down to it and take other roles with ‘Lucha Underground.’ I see a lot of the style I was raised on here, and I think I can help out with the young upcoming talent and hope to be around here as long as it lasts.

I feel like I just wanna go back to being more underground.

I know it sounds weird, but the kind of music I write isn’t the kind of music that I listen to, which is quite underground, left-of-centre stuff like PJ Harvey and Tom Waits.

Success happened for me when I dropped my first major label album for Def Jam, ‘Live From The Underground.’

I have really got into watching the unsigned bands. They play mad venues like the Sugarmill in Stoke and all sorts of underground, grimy places.

I was an underground rapper and only 16 years old, a freshman at high school. Bang thought I had potential as a rapper and lyricist, and we went from there. Then Suga joined us.

A lot of underground hip-hop will inspire me as far as rhyme patterns – really wordy, intelligent lyrics.

Yes, there was a sort of underground cult following, which came from nowhere, and grew, and grew. It was quite surprising to us all, because all of us had spent probably the previous five to ten years without it. So it was quite overwhelming. Overwhelming and humbling.

I had originally done a production called ‘The Resistance.’ It was one of those underground guerilla things, very low budget. Then Starz and Ghost House ended up picking it up and funding it, and we reshot it.

The song ‘Bite the Thong’ in particular, with Damon Albarn, really encapsulates the whole dilemma of, ‘Hmm, should I stay on the underground when everybody else is selling out?’ Nowadays, you can just do it – have your name-brand clothes, do songs with rock n’ rollers – and it’s not considered selling out.

I’m so proud of ‘Underground’ because it’s this thriller; it’s this action- adventure. It’s unexpected. People think it’s gonna one be one thing – they think it’s gonna be very depressing and downtrodden – and it’s empowering.

On ‘Underground,’ we had used contemporary music to pull you into the present and not just look at it as a portrait on the wall and in the past.

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.

My whole goal in this industry nowadays is to keep doing the underground stuff, but to be able to add vocals that are sexy and underground.

‘Lucha Underground’ is a fantastic product. They have the right people, talent, and backing up the product.

The artist one day falls through a hole in the brambles, and from that moment he is following the dark rapids of an underground river which may sometimes flow so near to the surface that the laughing picnic parties are heard above.

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.

‘You Talk’ was originally a copy of a certain Velvet Underground song.

Fall 2013 was inspired by the 1970s equestrian lifestyle. I wanted to incorporate the moody and romantic – intricate baroque detailing and classic menswear elements – with something tougher and edgier in a nod to London’s rock n’ roll underground.

Preppy never goes away. It just has its moment every 15 years, and then it goes back underground.

It’s so cliche, but I love the feeling you get from improv that anything can happen. The audience is already accepting that there are no props or costumes or furniture, so the performers can be anywhere doing anything; cut from underground to space, and it doesn’t matter.

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

Ultimately, the issue is not whether you are pro- or anti-sports betting. You begin, from my standpoint, from the premise that it is going to continue to exist, and if it is going to continue to exist, should it be shoved underground, or should it be regulated?

When I was doing dancehalls, nobody was doing well in dancehalls. Dancehalls was not mainstream music that was blazing charts and knocking down barriers. This was an underground phenom.

The Underground Railroad was the first integrated civil rights movement. And it’s a great example of when we work together, what we can go against. Which is 600 miles of crazy terrain being chased by slave catchers to get people to be what they should be in the first case – which is free.

Oftentimes, a history book in school will talk about the Underground Railroad as if it’s one sentence. But thousands of people decided to run, and they single-handedly changed the trajectory of our nation. By running to the North, they put a face to slavery, which recruited a lot of abolitionists.

The Muslim Brotherhood and the Salifist parties are a real force in the Egyptian society. No civil, liberal government can succeed, even after new elections, if the Islamists are forced to work underground as a foe and the country remains divided.

When we learned to play in bands, what we were covering was equal part the Velvet Underground and the Grateful Dead. That would defy the logic that somehow these things don’t fit in the same musical well.

I had seen some films made about the underground music world in Tehran, and most of them were short documentaries about 30 or 40 minutes long. And I always wondered why they weren’t publicized more. Really, their only flaw was they were short documentaries.

I have a fascination for extra-judicial societies and underground cultures, and in situations where justice can only be found outside the law, and how these societies have evolved over the centuries.

The type of cartooning that I think is generally referred to as ‘alternative’ or ‘underground’ is usually – the distinction is usually in terms of whether it’s made by one person, the entire thing is done by one hand or more of a production line process, which is how the comics that we grew up reading were made.

The first show I ever played was the International Pop Underground Convention in Olympia, Washington. It was girl night, and I was in Heavens To Betsy. I had just turned 18.

As a New Yorker you can’t help but be proud of the fact that so much music and culture started here. Punk rock, jazz, hip-hop and house music started here, George Gershwin debuted ‘Rhapsody in Blue’ here; the Velvet Underground are from New York.

I didn’t expect my popularity to be a mainstream thing, ’cause I’d only ever been an underground artist.

I have a huge underground following on the web.

I wore a $30 vintage wedding dress for my 8th birthday in an underground jazz club in Seattle. This was what I wanted.

Actually, the only thing I regret is not making more underground films and bringing them with me as historical documents.

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.

When I was 13, Lou Reed and the Velvet Underground made more sense to me than anything else.

I was always heavily interested in underground musical movements, the post-dubstep scene; Mount Kimbie were coming out, and bands like that.

Fear has many eyes and can see things underground.

If you live in London, where politicians and media commentators spend most of their time, you are spoilt for transport choices – trains, an extensive underground network and a regular bus service.

There’s constantly this melancholy about British hip-hop. People are always waiting for it to explode like American hip-hop, but it might just be that British hip-hop will always be as it is: an underground thing which will stay that way.

Washington, D.C., has everything that Rome, Paris and London have in the way of great architecture – great power bases. Washington has obelisks and pyramids and underground tunnels and great art and a whole shadow world that we really don’t see.

If you shut up truth, and bury it underground, it will but grow.

If you look at what happened with Underground Railroad, there is so much action. There is so much intrigue; there is so much of historical importance.

Scientists didn’t discover the noble gas helium – the second most common element in the universe – on Earth until 1895. And they thought it existed in minute quantities only, until miners found a huge underground cache in Kansas in 1903.

I say that I do soul, R&B music. I have so many influences, from Billie Holiday, Nina Simone to Stevie Wonder and Prince and even Al Green and Bjork. And a lot of hip hop music has influenced me a lot – you know – De La Soul and Digital Underground and A Tribe Called Quest.

If the Jews had issues with the Polish people then why during the Warsaw Ghetto Uprising, did the Jewish underground hang two flags from the bunker – the Polish flag and the flag of the Jewish people? Why? They did it because they felt part of Polish society and that is how we view them as well.

Those nations that say it’s a crime to preach your religion are making a terrible mistake. All they’re doing is driving underground other forms of spiritual intuitions and practices.

Everything’s so commercialised it shuts down the underground.

That’s one of the ways language evolved, by some very obscure form becoming common usage. And I must say that I’m very intrigued by use of language and slang, and criminal underground terms.

At the age of 16 I immigrated to Palestine from Europe, where I became a member of the Haganah, the main underground army of the Jews.

When I came up in a band – not just in a band, but a kind of underground DIY community – there was such a clear cut distinction between what pop was and what not pop was in very simplistic terms.

I got into underground comics fairly early on and kind of wandered away from the superhero stuff, but I was an art student and I was drawing a lot as a kid.

I was going to be a musician, no matter what it took. I supported myself with blue-collared jobs so I could write music and be in a band and play shows. I even got into an underground art scene. I was going to do whatever.

I don’t think anything’s underground anymore. And I think that’s a good thing. Everything is up for grabs.

Since I loved underground music, I tried to carve a space for feminism within it. Those were my hopes.

The air that people breathe in many Chinese cities has become dangerously polluted. Their food supply is subject to constant contamination scandals. Now it appears that not merely stagnant ponds but the water people draw from deep underground is already tainted.

I was like, ‘Oh, let’s do a show about the Underground Railroad.’ I never come up with great titles, and I thought, ‘Underground’ is a fantastic title. I got really excited.

The Underground Railroad was a spy network for the North and that story has never been told.

The end of coal in Appalachia doesn’t mean that America is running out of coal (there’s plenty left in Wyoming). But it should end the fantasy that coal can be an engine of job creation – the big open pit mines in Wyoming employ a tiny fraction of the number of people in an underground mine in Appalachia.

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.

In Mexico, theater is very underground, so if you’re a theater actor it’s very difficult to make a living. But it’s also a very beautiful pathway to knowledge and to an open education.

The creative autonomy in ‘Lucha Underground’ is more than I felt in WWE. There is more willingness from the creative and production team to listen to input from the wrestlers in ‘Lucha Underground.’

What was once underground is now coming to the surface.

I like Velvet Underground, but I was never really hardcore into them. I like them, and I like Nico, but I won’t front like I’m super knowledgeable. I just never got around to it.

Hip-hop is like underground. I don’t know if hip-hop exists anymore. I don’t know if it does.

If you go into an underground train in London – probably anywhere, but chiefly in London – there’s that sense of almost entering a ghostly dimension. People are very still and quiet; they don’t exchange many pleasantries.

There’s a lot more hypocrisy than before. Racism has gone back underground.

Though gay lifestyles have certainly moved into the open, there’s little evidence that society has become more open in its basic attitudes or that entertainers should feel cozy in emerging from the velvet underground.

I was young and felt like it was opportunity ’cause they were moving units back then on the underground scene.

I’ve done that I was touring a couple of years ago with R. Kelly and the Lillith Fair, I would do the late night underground gigs as well because it’s always around those times that there was a hot song, either on the radio or in the clubs, it would just be simultaneous.

As a teen, I heard the second Velvet Underground album, ‘White Light/White Heat,’ and it was too much for my limited scope of appreciation. It was intense, but I didn’t get it.

I represent a kind of underground, punk side of drag.

I did the underground scene growing up. I lived in Albany, New York so I’d go see Stigmata, Hatebreed, Murphy’s Law so I was in that whole scene.

Better to die in the pursuit of civilized values, we believed, than in a flight underground. We were offering a value system couched in the language of science.

We were the underground reporters.

I learned a lot while working on ‘Live From the Underground.’

HATE, even if it’s making money. is an underground movie, that’s how it was made. It’s a film about police brutality in the largest sense, it’s about the whole of society and not just about the hood.

I wouldn’t be able to tackle a character like Rosalee on ‘Underground’ without having tackled the many characters I’ve played before.

The reason we personify things like cars and computers is that just as monkeys live in an arboreal world and moles live in an underground world and water striders live in a surface tension-dominated flatland, we live in a social world.

You got a lot of girls out there that can rhyme and are underground, but it’s sex appeal that makes people really big.

Wrestling in Australia is big, but it’s kind of underground.

Naturally, underground music often gravitates toward experimentation and the abstract. That’s understandable, and more often than not, it feels great to dive into a difficult album and swim a few laps.

I like their darkness but I also like the pop-side of the Velvet Underground.

Most of these experiments required the reduction of the cosmic ray muon flux in order to be successful, and the group necessarily became expert in the operation of deep underground laboratories.

There is always the underground rapper people enjoy, and you want to see him come up. That’s kind of how it is in wrestling.

And I tell you, having girls has made me a much better man. I have friends who are fathers, but they only have boys, and they have the same attitude toward women they always had, you know? And I don’t play that… My girls, you mess with them? I will bury you underground.

I have single-handedly provided job opportunities and training to 200 Indian fighters who were doing nothing but misusing their strength on the streets or in underground illegal fight clubs.

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.

For me, the ’80s was great because you had Boy George, Michael Jackson, Stevie Wonder, Prince, and Cyndi Lauper. No one put boxes saying this is urban, this is popular, this is underground. It was just good or bad.

For years, I survived as an artist on grants and touring as a dancer with dance companies, and I was living underground like so many artists, hand-to-mouth and so forth. And I never had the power to make decisions.

I left for Fiji 36 hours after we wrapped ‘Lucha Underground’ season 4. The producers of ‘Lucha Underground’ had to bend over backwards to get me wrapped out of the season to leave for ‘Survivor.’

I think I’m commercial underground. I’m not commercial in the way that people consider ‘pop,’ but I’m not underground in the way that people consider that. either. I am just a cool guy.

It doesn’t get any more underground, conscious or indie than Macklemore, Ryan Lewis, but because they got a couple of really big pop hits, actually some of the biggest pop hits that hip-hop has ever seen, people are missing that part of their story. People are not counting that blessing.

‘Malice’ wasn’t about horror to start with but an underground comic driven by the power of rumour. However, as nothing fuels a rumour like fear, I decided that it had to be a frightening comic.

Skating was popular, but it wasn’t mainstream. It had this underground following, and you could go on tours, win decent prize money, and make royalties from signature products – that’s how I came to buy a house when I was a senior in high school.

If people didn’t read books on the subway, underground journeys would be dreary.

Ginger is often called a root, but it is actually a rhizome, which means it is an underground stem that sends shoots and roots laterally in all directions. This is why ginger often looks so gnarly and knobby, making it tough to know where to get started when prepping it.

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

‘Lucha Underground’ is a combination of new psychology, new moves, and a new take on wrestling: an evolution of wrestling. In my opinion, it is entertaining. It is the kind of wrestling I want to watch. It is the kind of stories I want to tell, which is why I intend to be part of it.

I’d heard a lot of Motown and Stax when I was a kid, but the more well-known end of it. On Jam tours, we had a DJ called Ady Croasdell who ran a ’60s club. He turned me on to underground stuff and what people call northern soul. It just blew my mind.

I never felt like ‘I’m an underground dude’ or ‘I can only be hot in New York.’

I’ve been known to write on the Underground in London and on the subway in New York. I have two or three cafes in Paris that I go into. I find a corner with a little shade, and I can work.

I’m really interested in how you create a whole new economy of recycling. It’s literally the ‘underground economy.’ All this stuff that on the surface creates growth and profit, ends up with waste, junk, and CO2. So how do you make it economic to bring new players into the ball game?

In ‘Underground,’ you have to write for everyone, even the bad guys. People need to laugh and love and have voices and do bad things. Even slave owners need to be people.

I’m an underground mix-tape artist who’s had a level of commercial success.

No part of Manhattan these days really has the same vibe I get from a Ramones song or a Velvet Underground song.

I think I can pinpoint the moment that I realized that I enjoyed hip-hop music and it was the video game called Need For Speed Underground.

I feel like artists like Three 6 Mafia and 8 Ball and MJG reached a point in their careers where they were hot and underground.

I was an English major in college who concentrated in African-American literature and culture. So I read quite a few slave narratives and stories of escape, and I grew up in Ohio, which was a common stop on the Underground Railroad.

What made Manhattan Manhattan was the underground infrastructure, that engineering marvel.

It was humbling to see how many fans there are of ‘Serenity.’ It’s like an underground fan base.

We’re making this huge changeover from underground to more mainstream audiences. I don’t know if we could ever repeat this type of feeling. We’re really excited.