When I was younger, I was in love with everything about the British Isles, from British folklore to Celtic music. That was always where my passions were as a young girl, and so I studied folklore as a college student in England and Ireland.— Terri Windling
Fantastic British Music quotations
I was born in the '60s and grew up in the '70s - not exactly the best decade for food in British history. It was horrendous. It was a time when, as a nation, we excelled in art and music and acting and photography and fashion - all creative skills... all apart from cooking.
[Being in the States] is almost like being on a holiday.
It's kind of annoying because everyone's like "Oh, you're so obsessed with America," but it's not really that. I just really enjoy being here - I'm not the first British artist to make music here and be inspired by the country.
Before Cliff (Richard) and The Shadows, there had been nothing worth listening to in British music.
I don't think the Bonzo Dog could have evolved in America, nor could the old Nice: because of their musical discipline. This is one thing that British groups do have, a sort of discipline. Sometimes it can get a bit soulless, but on the whole I think it's preferable to the American alternative.
Bill Monroe spoke of bringing 'ancient tones' into his music with echoes of British and Irish fiddle and bagpipe music, while also delving deeply into American blues, gospel, folk hymnody, and hill country dance music. To that gumbo, he added the invigorating rhythms and harmonies of hot jazz. It was a new kind of American music, named in honor of his band The Blue Grass Boys to be known, simply, as bluegrass.
I was never too keen on the British music press.
They've called us a supermarket hype, and they used to suggest that we didn't write our own songs.
My biggest poetic influences are probably 20th-century British and Irish poets.
So I suppose I'm always listening for the music I associate with that poetry, the telling images, the brevity. I want to hear it in my own work as well as in the poetry I read. However, I think I'm generally more forgiving of other poets than myself.
I have to admit, I am aware of my Latin roots now.
In the past, people couldn't place me. They thought that I was Danish or English or French. They never got that I am Italian. I'm not typical, maybe because my visual education was very mixed. There was a lot of London in my aesthetic: The Face, i-D, British music, and a lot of British fashion . . . But I really enjoy this contrast. I can go from Lady Gaga to Brian Eno in a split second.
Back in those days, all us skinny white British kids were trying to look cool and sound black. And there was Hendrix, the ultimate in black cool. Everything he did was natural and perfect.
The British ballads became a new kind of form in their hand.
And out of them came the blues, a new kind of song of commentary and satire, a song form which, after all, has become the main musical form of the whole human species.
Even though we were influenced by American culture and music, we like the rest of Europe have been colonized with that in the post-war period. At the same time there's a sense of dirty earthiness and Europeanness and Britishness in it as well.
There's always peripheral things that you like that you don't know, but starting with whatever his British influences are, are some of my favourite artists, and the American things are what I grew up on as well. In the end, for me, it's those foundations of the music business - those things that are a lot of the foundations of what music today is. You can hear a bit of all of those things that we talk about in almost all music today.
I was in Britain that year  and some music publishing people in Denmark Street in London suggested me to the BBC. So I found myself in front of a British television show, which was a nice surprise.
Everybody was in tears. You turned on the radio or the television, and it was nothing but Gainsbourg. With typical British music journalist disdain, I just figured it was a testament to how poor French pop was if there was this much fuss about a guy who had one hit record, 'Je T'Aime (Moi Non Plus)'.
We are devastated to learn of the death of Alexander McQueen, one of the greatest talents of his generation. He brought a uniquely British sense of daring and aesthetic fearlessness to the global stage of fashion. In such a short career, Alexander McQueen's influence was astonishing - from street style, to music culture and the world's museums. His passing marks an insurmountable loss.
I was brought up on choirs and brass bands.
They formed the music of my childhood. When I heard the Treorchy Male Choir at the Royal Variety Performance it brought back such happy memories. You have your own eminent place in the history of British music. You stand for excellence in a great tradition and your work for charity is both an example and an inspiration.
Being British, I don't really have a way of expressing myself in conversation.
Music transcends language.
I'm English and I am British. I don't know if I feel part of a music scene. Musically, I have as many feelings and affinity with Americans or Canadians, or all sorts of people as I do with English people.
That's one of the good things about a lot of the young British bands, they are mixing all styles of music. I think that's very good because that's very now.
We thought being offered the M.B.E. [Member of the Order of the British Empire] was as funny as everybody else thought it was. Why? What for? We didn't believe it. It was a part we didn't want. We all met and agreed it was daft.
I didn't like any British music before The Beatles.
For me, it was all about black American music. But then I became a successful pop singer, even though the kind of music I liked was more elitist, which is what I'm trying to get back to.
The British often shy away from any cinematic interpretation of real sex.
They sometimes have what I call "subtle sex," which is really introspective and has soft music in the background. Either that or it's played for comedy. The British are kind of hung up about sex. They find it kind of titillating and they make jokes about it because they're nervous.
Pop managers are fixed in the dramatic stock character repertoire too, ever since the first British pop film musical, Wolf Mankowitz's 'Expresso Bongo' of 1959, with Cliff Richard as Bongo Herbert and Laurence Harvey as his manager. The key components were cast as X parts gay, X parts Jewish and triple X opportunistic.
Dizzee's just my childhood hero. He's definitely the inspiration. He's got himself to a very good place. He's defied the expectations of what British black urban music was like. He was the first person who made the rest of Britain realise it wasn't just a one-album-type situation. You've got to take your hat off to somebody like that.
I have been long associated with British music.
I have favoured it as my alternate music next to American.
When I was 13, listening to Choice FM, I would listen to a lot of R&B from America, and whenever a British person tried to do it, it didn't really work, they just sounded like they were trying to copy that whole style. Now the music sounds British, something real rather than an imitation.
The British like any kind of music so long as it is loud.
I've always liked country music. It's a certain aspect of America that goes back to the British Isles and the influence is very native to America.
I didn't really see the British punk movement, if that's what it was, as wildly original, because I had been listening so intently to all the New York music since 1973, really.
I've never got on with the British press because they've always given me such a hard time. Once they build a band up they just want to do people down. They shouldn't concentrate on the colour of someone's shirt they should listen to the music.
The great British blues guitarists of the Sixties - people like Eric Clapton, Jeff Beck, Jimmy Page and Peter Green - could play like virtuosos, but they also understood the importance of energy and intensity
It is quite untrue that British people don't appreciate music.
They may not understand it but they absolutely love the noise it makes.
You certainly don't hear any country music on pop radio today.
But for a while you did, and it was a lovely thing to have all the different genres of music cohabitating the Top 40 - the folk sound, The Beatles, the British sound, the Motown sounds, that kind of light country - it was a welcome relief after a few hard rock records. Everyone was sharing the airwaves, and I think it was a beautiful time for American music.
The only thing that could possibly save British politics would be Margaret Thatcher's assassin.