"When I was a kid I heard all this strange electronic music that came from Germany on pirate radio and on the Peel show and it seemed like music from another planet and I wanted it. Then one afternoon I was listening to Radio 1 and Annie Nightingale played one whole side of Rubycon and it was life changing. I said to her, many years later, "that was incredible!" and she said, "oh John used to do that all the time, he was the first to do that." But it was like Annie became a pirate for one moment and took over the whole of Radio 1. That meant a lot. That was the spirit of making music to me. You do what feels right. If you want to play half an hour, you do it and accept the consequences but you have to do what the music tells you to do. Tangerine Dream made these extraordinary, electronic soundscapes. Is it an animal or is it a machine? Tangerine Dream crossed over that a lot. And then Annie played the entire side and blew my head."

"She’s got an album out called 'Vows,' and 'Settle Down's' music video is just really creative and really different. I just thought it was a rad song. I actually will say with pride that I was on the ['Somebody That I Used To Know'] train before it took off, too. I found out about it from some friends, on a Facebook post, before it was even getting radio play… [Gotye] sounded a little bit like Sting to me, and I was excited to see that it did so well."

"Well, that's just a great radio station. Very adventurous. We used to play 'Wild Honey Pie' live - it's just two words! Once again, a clever song, to me it's like a "fuck you" song - "We'll just use two words man, y'know". Lot of good tunes, obviously, I always liked 'Dear Prudence' and 'Glass Onion'. I played it to my son when he was like six years old and I like what he said: "Daddy" - I think I played 'Dear Prudence', maybe 'Julia', and he goes - "this is a sad song, but I like it!" And that's so cool - you're my son!"

"""When I was in high school, I was a little rebellious,"" Levine said. ""I wanted to play music. I didn't want to do the things they were teaching me. I picked up a guitar and that was it. The second I picked up a guitar, I never really put it down again. I fell so madly in love with it, it's all I did. It consumed my every thought, and I'd have friends over that didn't even play instruments and I would just put instruments in their hands."" "I remember hearing Green Day for the first time and being kind of blown away,"" Levine continued. ""When I heard 'Longview' on the radio, I was just kind of enamored by it. I was like, 'Wow, what's this?' It was very accessible, melodic rock and roll music, but it was a little pissed-off and obnoxious."

"I don’t want to say much about La strada other than that it’s the reason why I am here. When you watch this movie, no matter who you are, you get the sense that this is something special that couldn’t have been made for television or heard as a radio play. It’s not Alain Resnais, it’s very accessible, and yet it has cinematic purity. This is a mark of how depressing the movie business has gotten—we don’t make these kinds of movies anymore, movies where there’s just a natural consensus that they’re good. Where you don’t have to wait for critics to say so, because everybody can feel it."

"I heard a tremendous amount of first-class soul music... my father was in the Royal Air Force and I lived on a base. It just so happened that it coincided with the period of pirate radio stations, so a transistor radio was a virtually unmediated way of hearing absolutely incredibly music. I heard Hendrix, Electric Prunes, all the best soul music. You didn't know what these people looked like, who they were, anything. There was this guy Nicky who I used to play football with, his father was from Jamaica, and when he was moving on he gave the youth club his soul collection. The guy who ran the youth club, he was championing what I thought was starting to be second-rate output from The Beatles, because after 'Strawberry Fields' or 'Magical Mystery Tour' they came out with this Sgt Pepper's thing which I had issues with. Meanwhile, we had every good soul record. You also had Johnnie Walker, I think, on [Radio] Caroline. This also represents that period in the 70s when I was listening to Al Green, Sly, Stevie Wonder; the most interesting and radical music that was going. It's pathetic to go 'black soul music, oh right, Al Green's Greatest Hits', because the productions, the voice and everything is incredible. Let's just say one of the greatest singers, that's for sure, and he has to represent all of that."