"I was up in Glasgow, Stephen Pastel gave me that record and it's since become one of my favourites because it's really nice to listen to lying down and relaxing. Sometimes that's what you want from a record, you just want to let it wash over you, and I find that one does it in a very pleasant way. Pulp and The Pastels were in similar dire financial straits because we were both signed to this terrible label called Fire Records. We both got screwed through that, but that wasn't what we bonded over. Stephen has an amazing record shop up in Glasgow called Monorail that's been going for a while. I remember him starting that back when everyone was saying 'well why would you open a record shop when that's a dead format', I think he was quite far-sighted there. "

"Oklahoma City was a test city for MTV, and this compilation of US and UK punk rock bands – XTC, the Cramps, the Dead Kennedys – came out around the time, and had that same spirit. One song each, blam-blam-blam. You didn’t know who was American and who was English and it didn’t matter – what did was every band was doing it themselves and looking bizarre. And in a world where you knew you could never be the Beatles, here was John Cooper Clarke performing to 50 people and being fantastic. That felt huge. Seeing the energy coming off the audience when he made that effort really did something to me."

"I am convinced that Buñuel had intimate conversations with God throughout his life, wherein they would share their observations on humanity and tell lots of jokes. Buñuel’s movies are evidence of these dialogues. That Obscure Object of Desire is about a little man like you and me, self-satisfied and lustful. He is in love with a woman who refuses to give herself to him physically. This 1977 movie (Buñuel’s last) is irreverent, sexual, funny, elegant, shocking, embarrassing, political, and light as a feather. The way to enjoy it is to just let it happen to you, rather than to harbor any preconceived thoughts. To try to analyze why the director uses two actresses to play the same character and the motivation behind when he chooses to use each one is to miss the movie entirely (and to be the butt of a Buñuel practical joke—that’s him laughing at you while you are engaged in this fruitless exercise). As the story unfolds, you begin to feel that these two physically opposite actresses (the drop-dead gorgeous Carole Bouquet and the sultry, exotic Angela Molina) are the same woman and represent Buñuel’s complete male fantasy. Like many of his great films, this one includes a pig, a few nuns, a dwarf, and Fernando Rey."